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Hasselblad Digital Camera Manual

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Summary of Contents for Hasselblad Digital Camera

Page 2 The Hasselblad Manual...
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Page 4 The Hasselblad Manual Seventh Edition Ernst Wildi AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier...
Page 5 Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Bur.lington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.
Page 6: Table Of Contents
Contents PREFACE xiii HASSELBLAD FROM FILM TO DIGITAL History of the Hasselblad Camera System The Updated Camera System Content in the New Hasselblad Manual The Hasselblad Camera Systems Selecting the Shutter Type and Camera Operation Holding and Supporting the Camera...
Page 7 The Phocus and Flexcolor Software Programs Working with Phocus THE 503 AND OTHER V SYSTEM CAMERAS AND COMPONENTS Digital Imaging with V System Cameras Hasselblad 500 Camera Models Hasselblad 503 Camera Models The Motor-driven EL Camera Models The Hasselblad 200 Camera Models...
Page 8 Checking the Camera Functions in 503 and Other V System Cameras Component Interchangeability in the V System Hasselblad Shutter Lenses On 503 and Other V System Cameras Working with the V System Components on 503 and Other V System Cameras VIEWFINDERS AND FOCUSING SCREENS Viewﬁ...
Page 9 viii Contents Viewing with the Superwide Leveling the Camera Focusing the Superwide Cameras OPERATING THE 200 CAMERAS FOR DIGITAL IMAGING AND FILM PHOTOGRAPHY Digital Imaging with 200 Camera Models Releasing the Camera Film Advance and Shutter Cocking Operation of Film Magazines Setting the Shutter Type and Shutter Speed Selecting and Operating Lenses The Metering System...
Page 10 Lighted and Shaded Areas Exposing Digital Images Using Different Metering Systems Bracketing Exposure with Filters and Close-up Accessories The Hasselblad Metering Systems CONTROLS FOR CREATING EFFECTIVE IMAGES ON FILM OR DIGITALLY Aperture Control Controls for Creating Images Depth-of-ﬁ eld Photographing Groups...
Page 11 Close-up Photography in Digital Imaging and Film Photography Lenses and Accessories in Close-up Photography Working with Extension Tubes Other Close-up Accessories Close-up Photography with all Hasselblad Cameras Close-up Photography with H Cameras Working with the V System Close-up Accessories Special Close-up Applications...
Page 12 Contents PROJECTING MEDIUM-FORMAT IMAGES Modern Digital Projection Approaches Medium Format Slide Projection Hasselblad Medium-format Transparencies Perspective Control Image Brightness Operating the PCP 80 INDEX...
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Page 14: Preface
Hasselblad items whether they are still man- ufactured today or not. You can obtain the latest catalog from a Hasselblad agent or by visiting the Hasselblad websites, www.hasselblad.com or www.hasselbladusa.com. Besides updated product speciﬁ...
Page 15 Preface I also want to thank my friends and experts at Hasselblad for their wonderful help and cooperation in producing The Hasselblad Manual and for giving me permission to publish the diagrams from their instruction manuals and technical data sheets.
Page 16: Hasselblad From Film To Digital
Hasselblad from Film to Digital HISTORY OF THE HASSELBLAD CAMERA SYSTEM In 1948, the Hasselblad 1600F was unveiled as the world’s ﬁ rst 2¼ single-lens reﬂ ex (SLR) camera with focal plane shutter speeds up to second, with interchangeable 1600 viewﬁ...
Page 17: The Updated Camera System
1999. Was superseded in 2003 with XPan 11. 1999 — 300 mm f/2.8 lens and teleconverter. 2002 — Hasselblad H camera system. The H1 camera model was later updated to the H2, H2D and H3, H3D models with more professional integration for digital imaging.
Page 18: Content In The New Hasselblad Manual
Hasselblad organization and are simply proud of being part of the Hasselblad family. I feel it would be a letdown for all of these long time friends and loyal supporters of Hasselblad to see The Hasselblad Manual that only discusses digital imaging and only the digital cameras that are manufactured today.
Page 19 120 or 220 roll ﬁ lm. Some digital backs can also be attached to the H2F. The H cameras are the ﬁ rst Hasselblad cameras since 1957 that do not offer compo- nent interchangeability with the existing 500 and 200 series cameras, except for the tripod coupling.
Page 20: Selecting The Shutter Type And Camera Operation
Focal Plane Shutters All Hasselblad cameras in the 200, 2000, and 2003 series, and XPan models have focal plane shutters that provide short shutter speeds up to...
Page 21 The other type of shutter is in the lens, sometimes called a central shutter, giving the C desig- nation to such lenses in the Hasselblad V system (HC for H lenses). Shutter blades open and close at the set speed, exposing the entire ﬁ lm area at the same time (Figure 1-3). Flash pic- tures can be made at all shutter speeds.
Page 22: Holding And Supporting The Camera
HOLDING AND SUPPORTING THE CAMERA All Hasselblad models are ideally suited for handheld work and for working from a tripod. The H models, operated like a 35 mm ﬁ lm or a digital SLR camera, are an exceptionally beautiful tool for handheld photography.
Page 23 THE HASSELBLAD MANUAL reason why I like to suggest to all digital photographers to use the viewﬁ nder of the camera to view the image rather than the Preview screen where you must hold the camera a foot away from your eyes so you can see the image on the preview screen. This approach cannot possibly provide a steady support for any camera and is a main reason for blurred pictures.
Page 24 It allows you to communicate more directly with your subjects and direct the people as well as allowing you to take several identical images. While the mirror and shutter operation in Hasselblad cameras, especially the H models, is beautifully dampened to reduce motion within the camera, you may still want to pre-release a tripod-mounted camera.
Page 25 I highly recommend using a tripod coupling on a tripod, monopod, or any other camera stand (see Figure 1-6). as it allows fast and convenient attaching and removing of the camera. Newer Hasselblad tripod couplings have built-in spirit levels for accurate leveling of a camera. Figure 1-6 Tripod coupling.
Page 26: Image Size And Format In Digital Imaging And Film Photography
Image Size and Format in Digital Imaging and Film Photography The image size recorded in a digital sensor unit (digital back) or digital camera is determined by the size of the sensor in the camera or digital back. Sensors in Hasselblad digital cameras or digital backs can be 36.7...
Page 27 44.2 sensor at the top right are shown in comparison to the sensor sizes in other digital cameras. All three Hasselblad sensors are considerably larger than the full frame sensor of 24 36 mm (bottom left) found in a few digital SLR cameras, and much larger than the more common...
Page 28 It is no problem for a manufacturer to increase the number of pixels and produce a digital camera with a fabulous megapixel number but the more pixels the manufacturer puts on the same size sensor the smaller the pixels need to be.
Page 29: Sensor Size And Focal Length Of Lens
SENSOR SIZE AND FOCAL LENGTH OF LENS The 36.7 49 mm Hasselblad sensor is the largest sensor that can be ﬁ t into a camera designed for the 6 4.5 ﬁ lm format, and is very close to the 42 54 image size of a 6 negative or transparency.
Page 30 Magazines for electronic imaging. A digital imaging back can be attached to most Hasselblad cameras in the V system in place of a ﬁ lm magazine. Some H cameras are, or can be, equipped with various digital backs, an instant ﬁ lm magazine HMi 100, or a ﬁ lm magazine HM 16-32 for 120/220 rollﬁ...
Page 31 In the V system cameras, you can obtain images in the 6 4.5 format by attaching a ﬁ lm mag- azine A16, A32, earlier E16, or E32 types. The Hasselblad cameras in the H system are made speciﬁ cally for the rectangular 6 4.5 format so you need to turn the camera for vertical...
Page 32 4.5 format (bottom right) are shown in comparison to the 35 mm ﬁ lm format (left). The Superslide Format Hasselblad used to offer a special ﬁ lm magazine (A-16S) for the Superslide size of 41 41 mm small enough for transparencies to be projected in 35 mm projectors. While projected Superslides are very effective, the format never became very popular partially because some 35 mm projectors could not project Superslides without darkening the corners of the images.
Page 33 Figure 2-5 Creating panoramic images. The images created on the large Hasselblad digital sensors or the Hasselblad medium ﬁ lm format are large enough so they can be changed into panoramic shapes while maintaining image quality. (Photo by Ernst Wildi.)
Page 34: Deciding On The Image Shape In Digital And Film Photography
Image Size and Format in Digital Imaging and Film Photography DECIDING ON THE IMAGE SHAPE IN DIGITAL AND FILM PHOTOGRAPHY When photographic images are used in advertising, on magazine covers, in brochures and catalogs, or for many editorial purposes, the ﬁ nal image shape is determined by the use of the image.
Page 35 THE HASSELBLAD MANUAL without losing image quality, I feel that almost any subject, at least outdoors, can be effectively composed as a square, a horizontal, or a vertical. Doing so naturally requires photographing the subject or scene from a somewhat different camera position, perhaps even at a different focal length (Figures 2-6 and 2-7).
Page 36: Digital Imaging With Hasselblad
Any image, black and white or color, on negative or transparency ﬁ lm, can be scanned and changed into a digital image. Hasselblad produces a line of professional Flextight scanners for this purpose. A scanned image can be retouched or manipulated in the computer just like a digital original.
Page 37: Hasselblad's Advantages In Digital Imaging
If you presently do your ﬁ lm photography with Hasselblad, you do not need to invest in a completely new digital camera and lens system. Just invest in (or rent) a digital back and switch from the ﬁ lm magazine to the digital back. For most Hasselblad cam- era models, you have a choice of different digital backs with different speciﬁ...
Page 38 Hasselblad digital cameras and digital backs are also constantly updated to produce high quality results for a longer period of time (Figure 3-1 and 3-2).
Page 39: Photography's Two-Stage Process
And when the time for a change or update eventually arrives, you may only need to replace the back and not the entire camera and lens system or Hasselblad may be able to upgrade your camera or sensor unit.
Page 40: Recording A Perfect Image In The Camera
For serious digital photographers and professionals on the other hand stage two has become the more...
Page 41 Work with your digital camera or digital back as you might have worked with ﬁ lm assuming that nothing can be changed afterwards and that the image recorded in the camera is the image that you and your client will see.
Page 42 United States. Study as much as you can, I highly recommend attending workshops conducted by recognized digital photographers. The Hasselblad Manual goes into great detail about all the camera operations, the options you have in the camera, and lens controls to produce images in the camera with the...
Page 43: Helpful Computer Manipulations
HASSELBLAD DIGITAL CAMERAS AND CAMERA BACKS Digital Camera Backs The Hasselblad H1 and H2 cameras and all the different Hasselblad V system camera models can be changed from ﬁ lm to digital by attaching a digital back in place of a ﬁ lm magazine. This includes the camera models used for special applications like the FlexBody and the ArcBody.
Page 44 (Photo by Ernst Wildi.) I suggest that you investigate all the possibilities for digital imaging with Hasselblad; study the features and the speciﬁ cations of the various backs to determine which one is best suited for your purpose.
Page 45: Hasselblad Digital Cameras
THE HASSELBLAD MANUAL Hasselblad has gone a step further in the H3D and the newer H3DII models by com- pletely integrating camera and digital back so the camera becomes a true digital camera. This offers a number of important beneﬁ ts to the digital photographer that do not exist in a cam- era with an attached digital back.
Page 46: The Different Hasselblad Digital Backs
As a result these cam- eras cannot be used with any other digital backs made by Hasselblad or any other company. These cameras also cannot be used for ﬁ lm photography. While the sensor unit (digital back)
Page 47: Hasselblad Film Cameras
In digital imaging, the image is recorded on a light-sensitive sensor instead of light-sensitive ﬁ lm. The sensor in Hasselblad digital cameras and digital backs is a CCD with millions of light- sensitive areas on its surface. An array color ﬁ lter in front of the sensor ﬁ lters the light so that some pixels only receive red, others only green, and others only blue.
Page 48 Single shot operation. A single shot system delivers one color per pixel. Single-Shot and Multi-Shot All Hasselblad digital backs and digital cameras can be used in the single-shot mode which is standard on digital cameras and is illustrated in Figure 3-5. Single shot means recording a single image on the sensor just as we record a single image on ﬁ...
Page 49: Lenses For Digital Recording
This new develop- ment is called Digital Auto Correction (DAC) in the Hasselblad system. No computer or soft- ware, however, can produce a high quality image from an inferior lens. The computer can only...
Page 50 This topic is further discussed in Chapter 14. The HCD 28 mm wide angle (Figure 3-7) is one lens of this type in the Hasselblad line. It is designed to cover only the digital sensor format of 36.7 49.0 mm, not the larger ﬁ...
Page 51: Digital Recording Media
In all digital Hasselblad cameras and digital backs, the images can be recorded on compact ﬂ ash (CF) cards in the camera, on the accessory Hasselblad ImageBank, or in the computer. The used media is shown on the main menu, on the preview screen, and also when the zoom out control is moved to the very end.
Page 52 Digital Imaging with Hasselblad The ImageBank II The Hasselblad ImageBank II is a separate, battery-powered accessory unit that can be car- ried on a belt and is connected to the socket at the bottom on the left side of the sensor unit with a standard FireWire 800 cable.
Page 53 THE HASSELBLAD MANUAL focus control, however, is controlled from the camera. The computer mode offers practically unlimited storage capacity since the images are stored on the computer’s hard drive, but the limited mobility makes this approach suitable mainly for studio use. Connected to a computer, the screen and menu system on the sensor unit are disabled.
Page 54: File Formats
ﬁ lm magazine to the Hasselblad camera models that are made for use with ﬁ lm magazines and produce your black and white images on your favorite black and white ﬁ lm as most Fine Art photographers still do.
Page 55 (or camera) but also a different approach to exposure and the use of color ﬁ lters on the camera. With a Hasselblad digital camera or digital back you take just one picture in raw and then decide on the computer, where you have all the time in the world to evaluate the image, possibilities for changes in the gray tones and then decide whether you want to print it as a color image or change it to a monochrome or ﬁ...
Page 56 Black and white ﬁ lm photographers make extensive use of all these different color ﬁ lters when they record the image in the camera. Because the Hasselblad black and white image is created in color in the camera, you do not use the ﬁ lters mentioned above that change gray tones on a black and white image on the camera lens.
Page 57: Operating The H Cameras For Digital And Film Photography
Operating the H Cameras for Digital and Film Photography Hasselblad H camera models are basically operated in the same fashion for digital imaging and ﬁ lm photography, but keep in mind that the H3DII is for digital imaging only and the H2F and earlier camera models are designed for ﬁ...
Page 58 The controls, however, work basically in the same fashion. To produce an updated digital camera that is completely integrated for the most modern approach to digital imaging, Hasselblad felt it necessary to design the Hasselblad H3DII camera for digital imag- ing only.
Page 59 ﬁ lm photographers and still sees a future for ﬁ lm photography. With the introduction of the H2F model, in addition to the H3DII, you can select a Hasselblad camera with the operation, features, and sophisticated automation that makes photography a pleasure whether you work digitally or with ﬁ...
Page 60: Removing The Bottom Plate
Operating the H Cameras for Digital and Film Photography Figure 4-1 (Continued) REMOVING THE BOTTOM PLATE The H cameras delivered from the factory have a plastic bottom plate that can be left on the camera for handheld photography. It needs to be removed for mounting the camera on a tri- pod or stand.
Page 61 The red light ﬂ ashes when the battery is completely charged. The battery in the rechargeable battery grip must be recharged only with the Hasselblad battery charger BC-H Li-Ion 7.2 V DC, and this charging unit should not be used for recharging anything else.
Page 62: Audio Feedback System
Operating the H Cameras for Digital and Film Photography symbol working in the same fashion appears on the left side of the preview screen indicating when the Image Bank battery needs re-charging or changing (Figure 4-3). Figure 4-3 Battery warnings on H3DII. A ﬂ ashing yellow warning icon appears on the top right of the screen when the camera battery power is low.
Page 63 Removing the Focusing Screen Unlike on other Hasselblad camera models, the focusing screen is ﬁ rmly held in place and does not fall out even if you turn the camera upside down after removing the viewﬁ nder. To remove...
Page 64: Working With Film Magazines
This should not be a serious drawback since this ﬁ nder is most likely used in the studio with studio electronic ﬂ ash. You use The Hasselblad Manual exposure mode and set the aperture and shutter speed based on the reading from a handheld exposure meter or based on past experience.
Page 65 The darkslide curtain is open when the dot on the key points toward the open mouth symbol and the signal is white. As with all Hasselblad cameras, the magazine can be removed only when the signal is red (curtain closed), and pictures can be taken only when the signal is white.
Page 66 Operating the H Cameras for Digital and Film Photography camera body when the two are detached. The rear of the H camera body has a curtain to pro- tect the ﬁ lm in the magazine from exposure to light before and after the exposure is made. It opens —...
Page 67 THE HASSELBLAD MANUAL Figure 4-6 The magazine controls. (1) Illuminate the magazine LCD display on the left by pressing the Illumination button (the one with the light bulb icon). The function selector is at the bottom right, with the up/down controls above it. (2) The rear view of the magazine shows the ﬁ...
Page 68 Operating the H Cameras for Digital and Film Photography If you use ﬁ lm that does not have the bar code, you must program the type (120 or 220) and the ﬁ lm sensitivity into the magazine. Follow these steps: 1.
Page 69 THE HASSELBLAD MANUAL When the camera is turned on, the ﬁ lm winds automatically to frame 1, and the cam- era’s motor drive automatically winds it to subsequent frames. It also automatically winds up the paper trailer at the end of the roll. If you do not want the ﬁ lm to wind automatically to frame 1, but when the release is pressed the ﬁ...
Page 70 Operating the H Cameras for Digital and Film Photography You now specify the desired imprint by watching the LCD display on the camera grip (shown in the next section, Camera Operation) and operating the controls around the display. You have six options for imprinting the ﬁ lm. Follow the steps below: 1.
Page 71 THE HASSELBLAD MANUAL Figure 4-10 The various LCD displays for imprinting. turning the rear wheel. The selected letter or symbol is highlighted and is saved by clicking the Sel (Select) (AF) button. The text string appears on the bottom of the screen. Proceed in the same way with any additional desired letters or symbols.
Page 72: Camera Operation
Operating the H Cameras for Digital and Film Photography Figure 4-11 LCD display for (1) imprinting date and time and (2) imprinting text. The Instant Film Magazine The instant ﬁ lm magazine HMi100 for the H camera has the Databus connections and a dial for programming the ISO value on the magazine.
Page 73 THE HASSELBLAD MANUAL Figure 4-12 The operating buttons around the grip LCD panel (clockwise from upper left): Flash/Exit, AF/ON, ISO/WB (originally called the Save (Drive) button), Menu, Illumination/ Battery Status (originally called the Illumination button and has a light bulb symbol), On/ Off/Proﬁ...
Page 74 Operating the H Cameras for Digital and Film Photography it is also used to exit a setting without saving the changes. If the button is pressed one second or longer, a beeper (if turned on) will be heard, indicating that all buttons and con- trol wheels (except release) have been locked and cannot be changed.
Page 75 THE HASSELBLAD MANUAL Setting the Drive Mode On H3DII cameras, press MENU and then use the front wheel to select Drive. This gives you the same Drive modes as described below for the other camera models. On the other H camera models, the three options (see Figure 4-13) are set as follows: 1.
Page 76 Operating the H Cameras for Digital and Film Photography is pressed or just before the exposure is made. The camera can be set so that the mirror goes down or stays up after the exposure. The programming procedure is as follows (see Figure 4-14): 1.
Page 77: Photographing With The H Camera
THE HASSELBLAD MANUAL Figure 4-15 The controls at the front of the camera (from top to bottom): Mirror Up button, (item 24, Figure 4-1), release cord socket (item 21), and Stop Down button (item 22). Figure 4-16 Grip LCD display for interval exposures (left) and programmed for two frames (center).
Page 78: Focusing The H Camera
Operating the H Cameras for Digital and Film Photography these options to make the camera operations ideal for the way you like to photograph spe- ciﬁ c subjects. Some custom options allow you to put data on the display that might be help- ful.
Page 79 THE HASSELBLAD MANUAL Lens focus setting too far beyond the distance of the Centre Weighted subject framed by the central (23 x 20 mm) ≈ 25% section in the viewﬁnder Focus setting too close for CentreSpot (23 x 20 mm) ≈ 25%...
Page 80 Operating the H Cameras for Digital and Film Photography the release completely. The distance setting is maintained as long as the release is pressed halfway. If you remove the pressure on the release button purposely or accidentally and press the release again, the cameras will focus on the new subject in the focusing area. After the picture is taken, the distance setting is no longer locked and adjusts to whatever subject area is in the center of the composition.
Page 81 THE HASSELBLAD MANUAL To focus a lens, point the measuring area at the desired subject part and click the User button. The lens now focuses automatically on that part of the composition and locks the setting automatically. You can now move the camera to re-compose the image and press the release to take the picture.
Page 82: Metering And Exposure Controls
Operating the H Cameras for Digital and Film Photography Manual Focusing Because the Automatic Focusing system focuses more accurately and faster than most photog- raphers can do manually, I see little reason for using the Manual focusing mode. The H camera, however, offers the option of manual focusing, and the LED focusing aids make manual focus- ing accurate.
Page 83 THE HASSELBLAD MANUAL Figure 4-19 Metering areas. This diagram shows sensitivity distribution with an HVD 90 ﬁ nder. CentreWeighted (top) on a 23 20 area (25%), CentreSpot (middle) also on a 23 20 area but concentrated on the center area, and Spot (bottom) in a 7.5 mm area, about 2.5% of the total area.
Page 84 Operating the H Cameras for Digital and Film Photography avoids longer shutter speeds for longer focal length lenses. This is the recommended setting for exposure automation if you work with different focal length lenses. The P and Pv modes should be used only with the camera set for CentreWeight or CentreSpot metering. Shutter Speed Priority (Shutter Pr) or (S) Mode The electronically controlled shutter speed range of the central shutter in the H camera lenses is from second to 18 hours, including B and T...
Page 85 THE HASSELBLAD MANUAL Figure 4-20 (1) The complete operating and exposure information on the grip LCD panel. (2) The camera is set for manual exposure in the center weighted mode. (3) The camera is set for programmed variable exposures in the spot metering mode. (4) The camera is set...
Page 86 Operating the H Cameras for Digital and Film Photography Metering Approaches In all automatic exposure modes, the lens settings change as the camera’s metering area is moved to darker or lighter subject areas. This is ideal in fast candid shooting or when you are following moving subjects.
Page 87 THE HASSELBLAD MANUAL Locking Exposure Values in the Spot Metering Mode In the Spot metering mode, there is another way to lock lens settings without the need for relocking the exposure after each picture. This is done by programming custom option SPOT MODE into the camera.
Page 88 Operating the H Cameras for Digital and Film Photography In all automatic light measuring modes, you can bracket by using the rear control wheel, only if the wheel function is programmed appropriately. This is done with custom option, REAR WHEEL and QUICK ADJUST. Program this option into the camera as described under the section Custom Options.
Page 89: Other Operating And Image Creating Controls
THE HASSELBLAD MANUAL Programming Automatic Bracketing To program automatic bracketing, follow these steps shown in Figure 4-23. 1. Click the Menu button and turn the front wheel until BRACKETING appears. 2. Click the ISO/WB (Drive) button, which brings up the three bracketing symbols on top of the display.
Page 90: Custom Options
Operating the H Cameras for Digital and Film Photography closed until you release the button. If the control does not work as described, it may have to be programmed accordingly. The Mirror Lock-Up Control Normally, the mirror ﬂ ips up when you press the release and goes back into the normal viewing position after the picture is made.
Page 91 THE HASSELBLAD MANUAL more than one option before you press Save. Each programmed option remains in the camera until it is changed. Options in Different Camera Models The options vary somewhat depending on the H camera model. The list in Figure 4-24 shows ﬁ...
Page 92 Operating the H Cameras for Digital and Film Photography Figure 4-25 New custom options. Custom options found in newer H camera models. some only with a digital sensor unit on the camera. These exceptions are clearly indicated in the list of custom options. Use and Application of the Custom Options Standby Timeout: Allows you to set the length of time that the camera remains in the active ●...
Page 93 THE HASSELBLAD MANUAL Spot Mode: When set to ZONE, allows convenient locking of a spot meter reading with the AE-L ● button. The camera assumes that the meter reading was made of an 18% reﬂ ectance area for a Zone 5 reading. If you do not plan to use this option, set it to NORMAL.
Page 94: New Options On H3Dii Camera Models
Operating the H Cameras for Digital and Film Photography NEW OPTIONS ON H3DII CAMERA MODELS What used to be called the Drive control is now the ISO/WB (white balance) control. The Drive settings are now made by pressing the Menu control and turning the front control wheel to DRIVE.
Page 95: The User Button Functions
THE HASSELBLAD MANUAL Figure 4-26 Mirror delay. This new custom option on H3DII cameras allows you to program an extra mirror delay up to 200 milliseconds, which reduces the danger of mirror motion affecting the image. shutter is in the lens. Lens shutters, where the shutter blades open and close around the opti- cal axis of the lens, are recognized as creating less camera motion than the focal plane types where a shutter curtain moves vertically or horizontally across the image area.
Page 96: Flash Photography
Operating the H Cameras for Digital and Film Photography FLASH PHOTOGRAPHY Using electronic ﬂ ash with H camera models and operating the cameras in ﬂ ash photography is described in the Chapter 18. THE USE AND OPERATION OF PROFILES The H camera proﬁ les allow you to store and save a number of functions collectively in the camera and then allow rapid access to the stored combinations of camera settings and func- tions when needed.
Page 97: The Global Positioning System
Satellites that were originally launched for military purposes have made this possible, and the Hasselblad H3D cameras can record these data as part of the digital image capture informa- tion. The very small accessory that is necessary for this purpose is attached to the service port on the front side of the camera.
Page 98: Creating The Digital Image
The CF backs have Databus connections that work with ELD and modiﬁ ed 202, 203, and 205 camera models. The CFV digital backs which are also a component of the 503 CWD digital camera, can...
Page 99: Sensor Units On Different Cameras
205 cameras equipped with C type lenses. Computer control may aso require a cable. The CF Digital Backs The CF digital backs are attached to Hasselblad H or V system camera models or to other medium and large format cameras by means of an adapter that varies depending on the camera model.
Page 100: Power Supply
Flash Sync Setting: For use with the ArcBody, FlexBody with the Flash sync input cable, view ● cameras with the Hasselblad adapter, and 200 camera models that have not been modiﬁ ed with C lenses in the C mode. Do not use the motor drive at rapid setting.
Page 101 7.2 V Sony InfoLithium L type NP-F550 (or similar) battery available from Hasselblad and other sources. On the CFV backs, the battery slides directly into the bottom of the digital back. Push the battery toward the camera where it depresses the battery-retaining catch.
Page 102: Shutter Delay, Exposure Time, And Capture Sequence
Creating the Digital Image recommended to leave the two on the default setting of 5. You can further save power with the Power Down option which is also part of the User Interface one step below the Language option. It can be set to times between 3 and 99 minutes. At the set time, the power in the sen- sor unit turns off, which is the same as turning off the power to the camera with the ON/OFF button on the H camera grip.
Page 103: Operating Controls On Digital Backs
THE HASSELBLAD MANUAL OPERATING CONTROLS ON DIGITAL BACKS The Hasselblad H3D and H3DII cameras and the various digital backs have basically the same operating controls and are operated the same way, but the controls are arranged and operated in different fashion. The operating controls on the H3D camera are shown in Figure 5-1,on the...
Page 104 Creating the Digital Image Figure 5-2 CF digital back operating controls. (1) Ventilator to keep unit cool, which must be kept open; (2) preview screen; (3) Menu (Exit button) used for various functions; (4) display button goes through various view modes; (5) ON/OFF button powers the digital back; (6) Ready Light indicator ﬂ...
Page 105 THE HASSELBLAD MANUAL Figure 5-3. All the information about creating the digital image applies to H3D and H3DII cam- eras and CF and CFV digital backs unless deviations and differences are speciﬁ cally mentioned. Before you proceed further you may want to check whether your back speaks your lan- guage and if not, change it.
Page 106 Creating the Digital Image Figure 5-4 Operating controls on H3DII sensor units. The operating controls on the H3DII sensor unit with the larger preview screen shown on the right are in a different location than on the H3D unit shown on the left but serve the same functions. Settings then to the right to User Interface.
Page 107 THE HASSELBLAD MANUAL Figure 5-5 The main menu. The main menu set for selecting the ISO value with the buttons. Figure 5-6 Using the Navigating control. Use the Up or Down symbols on the navigating control to move up or down the option list on the screen. Depress the right portion of the navigating control to reach a sub-menu.
Page 108 You can see the serial number and current ﬁ rmware revisions of your digital back, which you need to know if you are looking for updates from the Hasselblad technical depart- ment. Default is used to change all the custom made settings to the factory default values.
Page 109 THE HASSELBLAD MANUAL Figure 5-7 The main menu settings in the User Interface. By changing the User Interface you can control the way the digital back interacts to suit your working style. Main menu settings include Language (seven different languages to choose from); Power Down to power down the back after a certain time period to save battery power, which is set to Never, the default setting;...
Page 110 Creating the Digital Image Figure 5-8 New H3DII Custom options. The new custom option section can be reached through Settings, User Interface Camera, About, and Default, with the new options reached with the navigating controls. OFF by Half Press, and Toggle Display by Half Press. These allow you to turn the sensor unit dis- play on when half pressing the shutter release.
Page 111: Making The Settings On The Camera's Powergrip
— so called Neutralization in the Phocus or FlexColor software. Since the Hasselblad 3RF ﬁ le is a raw ﬁ le, further adjustments can, and in most cases should be made in Phocus or FlexColor and can be done without...
Page 112 Creating the Digital Image Since the digital image with Hasselblad is recorded raw, the White Balance setting on the camera only affects the color on the preview screen and not the image recorded on the sen- sor. The White Balance setting, however, will be considered when the images are transferred with the FlexColor or Phocus software.
Page 113: Evaluating The Tonal Range And Exposure
THE HASSELBLAD MANUAL Figure 5-11 Figure 5-12 Manual White Balance control. White balance test. Screen image With the Manual White Balance control that appears after test exposure shows you can either set the color temperature of the area chosen for the white balance...
Page 114 The horizontal spread covers the full potential dynamic range of the digital camera system. When evaluating the histogram make certain that the graph is completely within the left and right margins, and that it stops before the margins and is not cut off on either the left or right side.
Page 115 Instant Approval Architecture The evaluation possibilities previously discussed are good methods for evaluating the exposure of a digital image. Hasselblad offers a third possibility with the Instant Approval Architecture option (Figure 5-13). This automatically functions in the H3D cameras. In the lower right hand of the Preview screen you see three small round signals.
Page 116 Creating the Digital Image Figure 5-13 The Instant Approval Architecture. Instant Approval Architecture indications are shown on the lower right on the display screen. On the Image File Name, green images start with A, yellow images with B, and red images with C. You can change the status of a selected image by depressing the Approval button.
Page 117: Viewing Images
THE HASSELBLAD MANUAL Figure 5-14 Menu shortcuts. (Top) Setting the Browse Filter. Press and hold the OK control until the desired ﬁ lter for the Instant Approval Architecture is indicated. (Center) Overexposure Indicator. Depress the top of the navigating control until the display begins to ﬂ ash in the overexposed areas.
Page 118 Creating the Digital Image Figure 5-15 Full Details Preview mode. In the Full Details Preview mode the screen image shows the Histogram, the camera settings, and a darkened preview of the image. The camera setting details are stored with the image. The Zoom Control You can zoom in or out in any one of the settings (except Battery Saver) by depressing the buttons.
Page 119 THE HASSELBLAD MANUAL Figure 5-16 Figure 5-17 Thumbnails. The nine-image Sensor image display. The four- thumbnail display on the preview screen. image display on the sensor unit with the selected image outlined in blue. shows either all or only the selected images. An Empty Browse ﬁ lter tells you that there are no images with that particular approval status on the storage media.
Page 120: Copying Images
Creating the Digital Image Figure 5-18 Figure 5-19 Changing the batch name. The The batch list. Display shows batch name is changed by depressing the the different batches, batch names with button in combination with the different numbers, the date the images navigating control which changes the were taken, and the number of green, number.
Page 121: Cleaning The Sensor Unit
As mentioned earlier there are only two reason for removing a digital back from a Hasselblad camera body, one when attaching a ﬁ lm magazine and the other for clean- ing the infrared ﬁ lter. Whenever the digital sensor unit is off the camera, even for a short time,...
Page 122: The Phocus And Flexcolor Software Programs
This after-image processing is an important part of creating any digital image but espe- cially so when images are recorded in Raw as done with Hasselblad. While some raw images can be used as they come out of the camera if you are not looking for the best quality, you...
Page 123 The Phocus version delivers the ultimate quality and perfect colors in the Hasselblad digital process and gives you the ﬂ exibility and power necessary to enjoy the workﬂ ow solutions with several major advantages.
Page 124 Creating the Digital Image THE PHOCUS GRAPHICAL LAYOUT The graphical layout in Phocus can be customized in regards to the various windows, item size, and positioning as well as the content in the various windows. Below is a description of the default graphical layout which is shown in Figure 5-20.
Page 125 THE HASSELBLAD MANUAL Figure 5-21 Full Screen Viewer in Full Screen View, the viewer with the selected image ﬁ lls the entire screen area and with the Viewer Toolbar with tools primarily used for viewing at the bottom. Thumbnail images of the ﬁ les in the selected folder can be seen in the Thumbnail Browser as a horizontal window below the Viewer or replacing the viewer (see Figure 5-22).
Page 126: Working With Phocus
Hasselblad digital cameras and digital sensor units can be triggered and controlled to vari- ous degrees from the computer after the digital camera system is connected to the compu- ter with a standard FireWire 800 cable. The camera operations that can be set and controlled from the computer depend on the camera model with the H cameras offering more con- trols.
Page 127 Figure 5-23 The Operating steps for Importing ﬁ les. The File Browser (top and center) the Thumbnail Browser (bottom). Figure 5-24 Tethered Capture. After camera and computer are connected, an Icon appears in the File Browser (1) and a heading in the Camera Tool shows that the connection has been made (2).
Page 128 Creating the Digital Image notiﬁ es you that the connection has been made. The camera can now be triggered either by the Capture Icon in the Toolbar (number 3 in Figure 5-24), the shortcut, or the camera itself. The image becomes visible on the computer screen immediately after releasing the camera (this is the exact image as it was recorded on the sensor).
Page 129 THE HASSELBLAD MANUAL Figure 5-25 The File Browser. Clicking on the arrows (1) navigates through the folders with the folder name appearing in the File Browser Menu (2). Folders can also be selected by double clicking on the selected icon (3).
Page 130 Creating the Digital Image Figure 5-26 The Thumbnail Browser at the Figure 5-27 bottom of the screen display. Changing size of image. The size of the image is changed by clicking the or – signs (1). Dragging the modifying icon (2) alters all images globally.
Page 131 THE HASSELBLAD MANUAL Figure 5-29 Extra Tabbed folder and Quick Collection. The extra tabbed folder appears in the Thumbnail Browser (4). Thumbnails assigned to a Quick Collection acquire a Quick Collection icon (5). different folders, side by side on the viewer for comparison by selecting an image in the...
Page 132 Creating the Digital Image Figure 5-30 Viewer Toolbar. The viewer Toolbar has from top to bottom the following tools encircled in the illustration: Normal View; Compare View; Crop Tool; Neutralizing Tool; Zoom Tool; Mark Underexposed; Mark Overexposed; Grid; Previous Image; Next Image; and switch compare images.
Page 133 THE HASSELBLAD MANUAL Tool List Camera Camera reﬂ ects the settings from a tethered camera with the amount of information depending on the camera model. Capture information The amount of capture information also depends on the camera model. Color Correction The color correction is a sophisticated control for selective and subtle color shifts.
Page 134 Creating the Digital Image Figure 5-32 Color correction. After clicking on the color picker icon (1) in the tool tab you click on the desired tone on the color wheel where a point (2) will appear. You can now adjust hue, saturation and lightness either by moving the slides (3) or clicking on the point on the wheel and dragging it to form an arrow (4) that can be extended shortened or rotated to alter the settings.
Page 135 THE HASSELBLAD MANUAL Histogram The Histogram can display graphs of combined or separate channels (Figure 5-34). Highlight, shadow and gamma settings can be entered with a slider control numeri- cally. You can see when clipping occurs in the shadow or highlight areas.
Page 136 Creating the Digital Image Noise Filter A ﬁ ltering tool consisting of Color to neutralize the coloration of colored noisy pixels which may occur in areas with very ﬁ ne detail; the Luminance control which is helpful to reduce “noise” in dark areas especially when long exposures or high ISO values are used;...
Page 137 THE HASSELBLAD MANUAL Save Adjustments which sets whether adjustments are saved “manually” where you need to save ● each time you ﬁ nd it necessary, “Ask before saving” where you can check before a save is attempted or “Always save” that saves the current adjustments automatically ●...
Page 138 Creating the Digital Image Preset. After making all the ﬁ ne tuning modiﬁ cations which you see in the image in the viewer you can save the changes by pressing the Save Changes button in the adjustment sec- tion of the toolbar You have now created a new embedded Adjustment Preset.
Page 139: The 503 And Other V System Cameras And Components
Digital imaging has not outdated theses cameras originally made for ﬁ lm photography. By simply replacing the ﬁ lm magazine with a Hasselblad digital back the V system cameras, at least the more recent models, make excellent tools for digital imaging. You can also produce digital images in the square or rectangular format depending on which digital back you attach to the camera.
Page 140 The 503 and Other V System Cameras and Components Figure 6-1 500/501/503 components. (1) focusing hood, (2) focusing screen, (3) screen retaining clip, (4) Flash ready signal*, (5) focusing ring and scale, (6) shutter speed and aperture interlock button (7) central lens index (8) depth-of-ﬁ eld scale, (9) aperture ring and scale, (10) shutter speed selector ring, (11) PC ﬂ...
Page 141: Hasselblad 503 Camera Models
The 553ELX motor, like the motor in all future models, is powered by ﬁ ve standard AA batteries instead of the NiCads. Hasselblad 555ELD for Digital Imaging The 555ELD has a new heavy-duty motor powered by ﬁ ve AA batteries and a gliding mirror system with a mirror suspension and a camera release mechanism that was in the space cam- era design.
Page 142: The Hasselblad 200 Camera Models
The 503 and Other V System Cameras and Components digital camera back. The rear of the 555ELD has integrated connectors to interface with some digital backs, eliminating cable connections between camera and magazine. An accessory IR release unit can be attached to the front of the 555ELD camera for wireless remote operation up to 33 feet (10 m).
Page 143: The Hasselblad 2000/2003 Camera Models
A spirit level built into the top of the camera body with a prism attached to the view- ﬁ nder lets you see the level setting from the viewing position. On the Hasselblad 903SWC the spirit level, on top of the removable viewﬁ nder, is visible in the viewﬁ nder together with the image area covered on the ﬁ...
Page 144: The Hasselblad Flexbody And Arcbody Cameras
(Photo by Ernst Wildi.) THE HASSELBLAD FLEXBODY AND ARCBODY CAMERAS The Hasselblad V system also includes the FlexBody and the ArcBody cameras with swing and tilt control. While the FlexBody is used with Hasselblad shutter lenses, the ArcBody requires special Rodenstock type lenses with larger covering power.
Page 145: Checking The Camera Functions In 503 And Other V System Cameras
HASSELBLAD SHUTTER LENSES ON 503 AND OTHER V SYSTEM CAMERAS Hasselblad lenses with shutters are indicated with a C (C, CF, CB, CFi, and CFE). The lenses that have a designation F and an F setting on the shutter speed ring can also be used on focal...
Page 146 The 503 and Other V System Cameras and Components The original Carl Zeiss C lenses made until 1981 had a unique lens barrel design with interlocked aperture and shutter speed rings with automatic depth-of-ﬁ eld scales, M and X ﬂ ash synchronization (sync), and the built-in self-timer. It is not recommended to use these lenses on newer camera models therefore they are not discussed in further detail.
Page 147: Working With The V System Components On 503 And Other V System Cameras
THE HASSELBLAD MANUAL Databus connections when the 205TCC camera was introduced and were changed later, in name only, to the FE types. WORKING WITH THE V SYSTEM COMPONENTS ON 503 AND OTHER V SYSTEM CAMERAS Removing and Attaching Lenses Lenses can be removed and attached only when the shutter in the lens and/or camera is cocked and the camera is ready to be released but is not pre-released.
Page 148 Removing and Attaching Film Magazines and Digital Sensor Units Hasselblad ﬁ lm magazines, with or without electronic contacts, can be removed from all cam- era bodies, whether they are loaded with ﬁ lm or not and whether the ﬁ lm has been advanced or not.
Page 149 THE HASSELBLAD MANUAL Figure 6-7 The camera/magazine connection. (1) A gear (A) on the magazine connects to the winding mechanism (B) of the camera. The opening (C) is for the pin (D) that comes out of the camera when the darkslide is out and the release is pressed. The 2000FCM and 2003 models also have a shutter retraction control (G).
Page 150 Changing Focusing Screens On all Hasselblad V system SLR camera models made since 1970, you can remove the focus- ing screen as described in Figure 6-11 after removing the ﬁ lm magazine and the viewﬁ nder.
Page 151 THE HASSELBLAD MANUAL Figure 6-11 Changing a focusing screen. (1) After removing the ﬁ lm magazine and viewﬁ nder, push both screen retainers (A) into the camera body, and turn the camera upside down. The screen will drop out easily (if it does not, push gently from inside the camera body). (2) Drop the new screen into the square opening, with the ﬁ...
Page 152 The 503 and Other V System Cameras and Components Figure 6-13 Changing the winding crank or knob on older cameras. (4) The dot (or the large triangular mark) on the crank or knob is usually opposite the red triangle on the camera body.
Page 153: Viewﬁ Nders And Focusing Screens
Selecting the right viewﬁ nder and using it properly is as important in digital imaging as it is in ﬁ lm photography. While the image can be seen on the preview screen of the digital camera or digital back, you are more likely to evaluate the image in the viewﬁ nder more carefully than you do on the screen especially in handheld photography.
Page 154: Focusing Screens
Focusing Screens for Digital Imaging with V System Hasselblad and Other Cameras The Hasselblad 503CWD camera equipped with a CFV or CFVII digital back comes with an Acute Matte screen that shows the 2¼ square ﬁ lm area but has engraved lines for the 36.7 36.7 area of the digital sensor.
Page 155 THE HASSELBLAD MANUAL HS Standard HS Grid H3D-22/39 Grid H3D-22/39 H3D-31 H3D-31 Grid Figure 7-1 H3D screens. Top illustration shows the two screens for the 6 4.5 ﬁ lm format. All screens in H3D and H3DII cameras show the area covered on the 36.7 49.0 sensor (center...
Page 156 (right), which diffuses the light in all directions. Other Focusing Screens Throughout the Hasselblad history other types of screens have been made for V system cam- eras some of the more recent ones are shown in Figure 7-3. The screens with grid lines can be used for 6 4.5 photography as the outer horizontal and vertical lines correspond to this...
Page 157: Area Coverage On The Focusing Screen
(D). AREA COVERAGE ON THE FOCUSING SCREEN The focusing screen on Hasselblad H cameras shows 100% of the image area covered on ﬁ lm or on the digital sensor. Screens on V system cameras show about 98% (horizontally and verti- cally) of the ﬁ...
Page 158: Viewﬁ Nders
.This image cut-off is only on the focusing screen, not in the image, so allow for it. VIEWFINDERS The Hasselblad eye-level ﬁ nder for the H cameras and the interchangeable viewﬁ nders in the V system magnify the image on the screen for accurate focusing. They also shield the screen from extraneous light for convenient image evaluation even in bright sunlight.
Page 159: Suggestions For Accurate Focusing
Equipping a V camera model with a meter prism viewﬁ nder adds a built-in light- metering system to any V system Hasselblad camera. The light is measured through the lens (TTL) and through ﬁ lters, extension tubes, and bellows. You see the measured area while composing the image on the focusing screen.
Page 160: Selecting A Viewﬁ Nder
PM 90 ﬁ nders is illustrated in Figure 7-5. Diopter Correction Lenses The standard focusing hoods made for all SLR Hasselblad models since 1986 can be equipped with diopter correction lenses ranging from 3 to 4.
Page 161 Figure 7-5 Eyepiece correction in PM and PME ﬁ nders. (1) To set the diopter correction built into the PME ﬁ nders, pull out the eyepiece lock. Then turn the eyepiece to the proper setting and push the lock lever back into the ﬁ nder. (2) To change the eyepiece in the ﬁ nder, remove the eyecup, release the diopter lock, and rotate the diopter all the way to the right.
Page 162 Viewﬁ nders and Focusing Screens eyeglasses. A shorter eyecup for viewing with eyeglasses is available. This ﬁ nder is beautifully designed for handheld operation in the horizontal and vertical format. The Standard Focusing Hood and Magnifying Hoods The standard focusing hood (Figure 7-7) has deﬁ nite and unique advantages such as a high magniﬁ...
Page 163 THE HASSELBLAD MANUAL wrong direction when following moving subjects. On the Magnifying hood 4 4 DPS the designation 4 4. refers to the 40 mm area coverage. This magnifying hood is optimized for use with digital backs with CCD sizes smaller than 40 mm. The magnifying hood enlarges this area 5.5 .
Page 164 FlexBody, and the ArcBody. Its built-in mirror gives an image that is right side up and mag- niﬁ ed 3.3 . Some Older Hasselblad Viewﬁ nders Reﬂ ex Viewﬁ nder RM2, originally called HC 3/70, for 90-degree viewing with a viewing tube long ●...
Page 165 Heidi Niemala Editorial photograph made with a 50 mm lens in the basement of a pre-Civil War building.
Page 166 Heidi Niemala Photographed for clothing designer with a 150 mm lens.
Page 167 Heidi Niemala Editorial portrait with a 150 mm lens.
Page 168 Heidi Niemala Photographed with a 50 mm lens during a sand storm at White Sands.
Page 169: Selection And Use Of Film Magazines
Chapter 4. V SYSTEM MAGAZINES All Hasselblad rollﬁ lm magazines in the V system are designed with three parts — the shell, the darkslide, and the insert that holds the spools — and they are used in the same way (Figure 8-1).
Page 170: System Rollﬁ Lm Magazine Types
Selection and Use of Film Magazines V SYSTEM ROLLFILM MAGAZINE TYPES E-Type Magazines E-types have an ISO dial and electronic contacts to transfer the ISO sensitivity to the 200 cam- eras that have a built-in exposure meter. ECC Magazines ECC magazines (formerly called TCC) have the ISO dial and electronic contacts and also a dial for programming image contrast adjustments based on the Zone System theory.
Page 171 THE HASSELBLAD MANUAL Figure 8-2 Hasselblad rollﬁ lm magazines. (1 and 4) All newer magazines have a darkslide holder at the rear. (2) E and ECC magazines have an ISO adjustment dial at the top. (3) It can be set for ISO 12 to 6400.
Page 172 Selection and Use of Film Magazines Figure 8-3 Film magazine 70. (1) On the side of the magazine are the ﬁ lm transport key (A); the ﬁ lm counter setting button (B); the ﬁ lm counter (C); the signal indicating whether the magazine is loaded (white), not loaded, or at the end of ﬁ...
Page 173 ﬁ rst exposure. Do not turn the ﬁ lm winding crank until the end of the ﬁ lm. With the ﬁ lm properly loaded, all Hasselblad magazines should space images evenly from the ﬁ rst to the last picture with the space between images never exceeding 6 mm yet wide enough to make a cut.
Page 174: Use And Application Of The Instant Film Magazines
The purpose of the glass plate. The instant ﬁ lm pack design makes it impossible to bring the ﬁ lm plane at the same distance as in other Hasselblad magazines so that the image formed by the lens falls at x, slightly in front of the instant ﬁ lm plane (y). The glass plate...
Page 175 V system cameras, except early Superwide models, and is attached and detached as other magazines. The Hasselblad instant ﬁ lm magazines have glass plates in front of the ﬁ lm to move the image to the exact ﬁ lm plane distance which is slightly farther back (see Figure 8-6). Keep it clean.
Page 176 Lois Greenﬁ eld A beautiful image of the Australian dancers Paul Zivkovitch and Craig Bary. The use of mirrors in the photograph allows the viewer to see multiple perspectives of the body and the dancer’s face at the same time. This image, which has no image manipulations of any kind, has been exhibited in museums, galleries, and collections.
Page 177 Lois Greenﬁ eld An image of two dance students, Brandon White and Dale Harris, made during a lecture/ demonstration at Randolph Community College in North Carolina. While Lois usually likes to use fabric to suggest movement and the passage of time, it was used in this case in a restrictive fashion to restrain the dancers’...
Page 178: Operating 503 And Other V System Cameras
THE BASIC CAMERA/MAGAZINE OPERATION On all Hasselblad V system cameras without a built-in motor or a motor drive accessory, the shutter is recocked and the ﬁ lm advanced by a full turn of the winding crank or knob. On the motor-driven EL models set to the normal 0 operating position —...
Page 179 THE HASSELBLAD MANUAL Figure 9-1 The operating signals. (1) The ﬁ lm counter in the magazine (1) shows how far the ﬁ lm has been advanced. The operating signal in the magazine (2) is white when the ﬁ lm has been advanced, and red when the ﬁ lm has not been advanced. Older cameras also had a signal in the camera body (3), which showed white when the shutter was cocked, red when uncocked.
Page 180 Operating 503 and Other V System Cameras Attaching and Removing the 503 Winder After removing the winding crank, lens, and carrying strap, place the winder over the wind- ing mechanism with the strap lug in the winder’s mounting plate. Rotate it clockwise until it clicks into position (see Figure 9-3).
Page 181 THE HASSELBLAD MANUAL you may lose a frame on the ﬁ lm unless you make sure that the shutter is cocked before you attach the motor winder. To remove the winder, remove the lens. Holding the winder ﬁ rmly, press the detaching lever and keep it pressed while turning the winder counterclockwise.
Page 182: Setting Aperture And Shutter Speeds
Operating 503 and Other V System Cameras Figure 9-5 The IR remote release. (1) Release button, (2) IR windows, (3) mode selector, and (4) battery compartment. The remote control uses one CR2 battery. To save battery power, the mode selector should be set back to L or to S, C, or M as soon as the remote release is no longer used.
Page 183 THE HASSELBLAD MANUAL Figure 9-6 CFi, CFE, and CB lens controls. (1) external and internal bayonet mount, (2) shutter speed ring, (3) warning mark, (4) shutter speed scale, (5) manual stop down control, (6) ﬂ ash terminal with lock, (7) focusing ring, (8) lens bayonet plate, (9) EV scale, (10) aperture/ shutter speed interlock, (11) aperture ring and scale, (12) depth-of-ﬁ...
Page 184 Operating 503 and Other V System Cameras Figure 9-8 The release cycle on all V system SLR camera models when the shutter in the lens is used. When the camera release is pressed, the lens shutter closes and the diaphragm stops down to the preset aperture (A), the mirror moves up (B), and the auxiliary shutter or focal plane shutter opens (C).
Page 185: Distance Setting
THE HASSELBLAD MANUAL Figure 9-9 FE, TCC, and F lens controls. (1) Flash outlet in camera body for focal plane shutter, (2) aperture scale, (3) shutter speed ring and scale on camera (not on 202FA), (4) bayonet mount for lens shade, (5) EV scale, (6) depth-of-ﬁ eld indicator, (7) distance scale, (8) focusing ring, (9) lock for bayonet lens mount, (10) index for EV scale, (11) manual stop down control, (12) inside bayonet mount for ﬁ...
Page 186 L to prevent accidental releasing at the top, and a lock T for time exposures at the bottom. (3) Superwide cameras have the release lock next to the release. when a cable release is used. Older SLR Hasselblad types also have a release lock, to be used as described above for the Superwide.
Page 187 THE HASSELBLAD MANUAL Figure 9-11 Figure 9-12 201 camera model. The 201 201 battery check. The camera is distinguished mainly by the ASA condition of the 201 battery is checked dial for dedicated ﬂ ash. Above the battery by placing the battery symbol on the compartment is the lock for the shutter shutter speed ring opposite the index.
Page 188: Pre-Releasing The Cameras
The pre-release procedure for the various V system models is shown and described in Figures 9-15 to 9-18. Since Hasselblad cameras can be pre-released so easily, I recommend doing so whenever practical with a mounted camera, even the lens shutter models where the shutter operation is extremely smooth.
Page 189 THE HASSELBLAD MANUAL Figure 9-15 Pre-releasing cameras. The 500/503 cameras (1) and all focal-plane shutter models (2) are pre-released by pressing the lever below the winding crank or knob upward (on 500 models) or toward the rear (on 200 models). Pre-release EL cameras by setting the selector dial to S (3) where the camera returns to its normal viewing position after exposure or to SR (4) where the camera remains in the pre-released.
Page 190 Operating 503 and Other V System Cameras Figure 9-17 Pre-releasing the 200 and 2000 focal plane shutter cameras. When the lens shutter is used, the pre-release cycle is identical to that of the 500 and EL models, except that the focal plane shutter replaces the auxiliary shutter.
Page 191 THE HASSELBLAD MANUAL Figure 9-19 Producing double exposures on 500/503 and Superwide camera models. Make the ﬁ rst exposure as usual (3); the operating signal in the magazine will then be red (4). Insert the darkslide (5), and lift the magazine off the camera (6). Turn the camera winding crank (7).
Page 192 Operating 503 and Other V System Cameras Figure 9-21 Two portraits taken with V system cameras and a 120 mm telephoto lens. The portrait taken on a sunny day with ﬁ ll ﬂ ash creates a completely different mood and feeling than the one taken in the soft light of a foggy morning.
Page 193: Operating El Cameras For Digital And Film Photography
Operating EL Cameras for Digital and Film Photography The text here is limited to the operations that apply to EL models only. The operations that apply to all V system cameras are discussed in other chapters. The newer 500ELX, 553ELX, and 555ELD models with a dedicated ﬂ...
Page 194 Operating EL Cameras for Digital and Film Photography Figure 10-1 The important operating controls on the 555ELD. (2) mode selector, (8) remote socket cover, (9) remote release socket, (10) time exposure and locking lever, (11) release socket (digital and ﬁ lm on 555ELD), (12) release button, (13) IR release unit mount (on 555ELD only), (24) lens release button, (25) drive shaft, (26) ﬂ...
Page 195: Operating El Cameras
FILM release does not work. The regular FILM release is used with other digital backs. Obtain up-to-date details from the manufacturer of the digital back or from Hasselblad. The Operating Selector Dial EL cameras have a release lock as shown in Figure 10-3 and an operating selector dial that operates the camera in different modes as shown in Figure 10-4.
Page 196 Operating EL Cameras for Digital and Film Photography Figure 10-3 Releasing the camera. (1) All EL models have two release openings at the front that serve the same purpose on all models except the 555ELD. On the 555ELD the top opening is for digital work with some digital backs made for this type of operation and the bottom opening is for ﬁ...
Page 197 THE HASSELBLAD MANUAL Releasing with Cables All EL models can be released with an FK cable (F stands for “front”) attached to one of the release sockets at the front of the camera. You can also release all EL cameras through the side socket at the rear of the motor compartment by using the SK cable (S stands for “side”) or the...
Page 198 Jonathan Exley An attention-creating image of mult-time Indianapolis 500 winner Helio Castroneves.
Page 199 Jonathan Exley Personal portrait of close friends Jason and Naomi Priestley taken with a 150 mm lens and a short extension tube.
Page 200 Jonathan Exley Lifestyle Designer, Kathy Ireland. (Courtesy of kathyireland.com.)
Page 201 Jonathan Exley Team Penske photographed with multiple strobes and a 120 mm lens at sunset at the Phoenix International Raceway.
Page 202: The Superwide Cameras
The Superwide Cameras Information in this chapter is limited to the operations that apply speciﬁ cally to Superwide models. Basic camera operations that apply to all V system cameras are discussed in other chapters. BASIC CAMERA OPERATION Cameras made since 1980 advance the ﬁ lm either with a ratchet-type motion (necessary when the instant ﬁ...
Page 203 THE HASSELBLAD MANUAL Figure 11-1 The important operating controls on the 903SWC camera. (1) Viewﬁ nder with built- in spirit; (2) rubber eyecup; (3) camera release; (4) magazine lock button; (6) time exposure lock; (10) winding crank; (24) accessory/viewﬁ nder mount; (25) viewﬁ nder release catch; (27) magazine hooks;...
Page 204 The Superwide Cameras 200 μm Light ray path through air Resulting plane of sharpness for Biogon 38 due to spherical Light ray path aberration introduced by the IR filter and cover glass through glass Figure 11-2 Figure 11-3 Path of light rays to the digital Plane of sharpness.
Page 205: Holding The Camera
THE HASSELBLAD MANUAL HOLDING THE CAMERA Photographers operate the Superwide (Figure 11-5) either by holding it between two hands with the index ﬁ nger on the release, or by holding it with the left hand placed underneath the camera and lens and the right hand placed ﬂ at against the right side of the camera, again with the index ﬁ...
Page 206: Focusing The Superwide Cameras
The Superwide Cameras Figure 11-7 The Superwide viewﬁ nder. (1) The ﬁ nder has a built-in spirit level on top. The spirit level is also visible in the viewﬁ nder. (2) You can see the leveling of the camera without removing your eye from the ﬁ...
Page 207 T. Open the lens aperture fully for most accurate focusing or set it at the selected aperture to evaluate the ﬁ nal image. You can view the image on the screen through any of the Hasselblad viewﬁ nders, which also provide a magniﬁ ed view of the entire image and at the same time shield the focusing screen from all extraneous light.
Page 208 Andy Ryan An aerial made with the help of a gyroscope to illustrate the enormity of the project and the volume of concrete used in the Central Artery Project of the South Bay Interchange in Boston.
Page 209 Andy Ryan A long exposure in the existing light made at and for MIT in Cambridge, MA. The verticals were straightened in the computer together with minor curve adjustments to add saturation and contrast.
Page 210 Andy Ryan An architectural image without manipulation made at and for MIT in Cambridge, MA with very effective lighting that existed only on sunny days between June and September on this side of the building.
Page 211 Andy Ryan An interior made at a long exposure in Qingpu, China. The photographer’s assistant dressed in black added an interesting element and a compositional balance to the image. The verticals were straightened in the computer together with minor curve adjustments to add contrast.
Page 212: Operating The 200 Cameras For Digital Imaging And Film Photography
Operating the 200 Cameras for Digital Imaging and Film Photography Hasselblad 203 or 205 cameras interlocked with E, ECC, or TCC magazines and with FE or TCC lenses provide a simple and automated operation that requires little instruction for eliminating mistakes. The text here, although limited to operations that apply to 200 cameras speciﬁ...
Page 213 THE HASSELBLAD MANUAL Figure 12-1 Main components and operating controls of 200 cameras with built-in metering system: (1) focusing hood cover, (2) cut-out in viewﬁ nder for ﬁ nder display, (3) focusing screen, (4) focusing screen catch, (5) liquid crystal display, (6) illumination window, (7)
Page 214 Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-2 The exposure mode selector: 203 model (1), 202 model (2), 205 model (3). The original 205TCC had A instead of Ab (no automatic bracketing), and the Pr and A settings were reversed, with A on top.
Page 215: Film Advance And Shutter Cocking
THE HASSELBLAD MANUAL The pre-release control also operates the self-timer as described in Figure 12-3. Pressing the pre-release a second time starts the self-timer. The desired self-timer delay (from 2 to 60 seconds) is programmed into the camera. When it is in operation, the self-timer symbol appears on the display, and a red light at the front of the camera ﬂ...
Page 216: Operation Of Film Magazines
Operating the 200 Cameras for Digital Imaging and Film Photography OPERATION OF FILM MAGAZINES E, ECC, and TCC Magazines With ﬁ lm you probably want to take advantage of the built-in automation and metering sys- tem so consider using E, ECC, or TCC magazines where the ISO ﬁ lm sensitivity is set on the magazine and is electronically transferred to the camera body and its built-in metering sys- tem.
Page 217: Selecting And Operating Lenses
THE HASSELBLAD MANUAL Figure 12-4 The Long Exposure mode. The Long Exposure mode is indicated on the viewﬁ nder display by LE. Exposure time here is 1 minute 30 seconds, or 90 seconds. The shutter speed ring was set at second.
Page 218: The Metering System
Operating the 200 Cameras for Digital Imaging and Film Photography for the exposure. This is also necessary when you use any accessories such as extension tubes without the electronic connection, with any lens, even the FE, CFE, and TCC types. Selecting the Shutter Type Except for ﬂ...
Page 219 Figure 12-5 The metering area. The 205 (left) has a precise Spot meter that measures only a small center area. In the 202 and 203 models (right), approximately 75% of the light is measured within a 28 mm center area. The measured areas are indicated on the focusing screens (bottom).
Page 220: The Viewﬁ Nder Display
Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-7 The operating controls. (1) The desired mode is set opposite the index (d). In the center of the selector is the AE lock button used to activate the metering system or to lock the shutter speed or light value.
Page 221 Illuminating the display. The viewﬁ nder display is illuminated by daylight coming through the window below the Hasselblad engraving at the front of the camera. In dim light, you can illuminate the display by pressing the button above the ﬂ ash connectors. It turns off...
Page 222: Programming The Camera Functions
Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-10 Warning signals in ﬁ nder display. The major warning signals that appear on the display are as follows: (a) ﬂ ashing red triangle indicates an improper camera setting, (b) low battery power, (c) shutter speed should be longer than is possible on camera, (d) shutter speed should be shorter than is possible on camera, (e) light value is below meter range, (f) light value is above meter range, (g) ﬂ...
Page 223: The Metering Operation
THE HASSELBLAD MANUAL Figure 12-11 The programming display. The major programmed values are the ﬁ lm sensitivity (a), the self-timer delay (b), the ﬂ ash adjustment (c), and the bracketing value (d). Figure 12-12 Fractional indications on viewﬁ nder display. (1) On the 202 and 203 models,...
Page 224 Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-13 Display of shutter speed and aperture. In the A, D, and Z modes, the display shows the selected mode, the shutter speed, and a 0 (zero) indicating the correct exposure for that area (b).
Page 225 THE HASSELBLAD MANUAL Figure 12-14 Programming the Ab value. In the automatic bracketing (Ab) mode (1), the Ab values shown as (a), (b), and 1 f stop (c) on the 203 camera (2) are programmed into the camera by pressing the adjustment control with the mode selector set to PR (3).
Page 226 Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-15 Figure 12-16 Display in D mode. In the D mode, Display in Z mode. In the Zone the display shows 0 and the calculated mode, the display shows zone 5 and the shutter speed (a).
Page 227: The Zone System Theory
THE HASSELBLAD MANUAL Figure 12-17 Color harmony. A photograph made visually effective by the combination of blue and yellow and the completely different lines and textures in the sharp outlines in the boat and the delicate tree branches on the right. Exposure determined with the D mode of the built-in meter.
Page 228 Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-18 Colors. The red door surrounded by the green frame and the bright overall color on the building made me photograph this building. The pillars with the different color and texture added further visual effectiveness to this picture.
Page 229: Electronic Flash
Dedicated ﬂ ash, described in more general detail in Chapter 18, works like other cameras by measuring the light from a 40 mm center area of the image plane. With Hasselblad digital backs an adjustment is necessary since the digital sensor reﬂ ects a different amount of light than ﬁ...
Page 230 Operating the 200 Cameras for Digital Imaging and Film Photography Figure 12-19 Many images captured on black and white ﬁ lm need an adjustment in the exposure and the developing time to bring the contrast range to the perfect level based on Ansel Adams’...
Page 231: Flexbody, Arcbody, And Pc Mutar For Digital Imaging And Film Photography
FLEXBODY, ARCBODY, AND PC MUTAR FOR DIGITAL PHOTOGRAPHY By attaching a digital sensor unit to the Hasselblad FlexBody or ArcBody you have updated dig- ital cameras with swing and tilt control that otherwise exists only in large view cameras. You have these image controls, which are necessary in many professional applications, in a com- pact camera that can easily be carried and used on location.
Page 232 FlexBody, ArcBody, and PC Mutar for Digital Imaging and Film Photography Figure 13-1 Straightening verticals in the computer. The vertical lines in this picturesque entrance were beautifully straightened in the computer. Original image was made with a Distagon 50mm lens on a V system camera equipped with CFV digital back. (Photo by Bob Gallagher.) The light rays from wide angle lenses that go to the corners of the image enter the ﬁ...
Page 233: Applications For The Flexbody, Arcbody, And Pc Mutar
The PC Mutar lens has a shutter and can therefore be used for ﬁ lm photography or dig- ital imaging on all Hasselblad cameras that use shutter lenses. The image can be evaluated on the focusing screen of the camera with the standard or any of the prism viewﬁ nders.
Page 234 FlexBody, ArcBody, and PC Mutar for Digital Imaging and Film Photography Figure 13-2 The important FlexBody operating controls: (1) rear standard, (2) winding crank lock, (3) tilt scale, (4) winding crank, (5) tilt index, (6) front standard, (7) drive shaft, (8) lens release lever, (9) close-up extension wheel, (10) lens marking, (11) tilt control lock, (12) tilt control, (13) shutter cocking knob, (14) cable release socket, (15) shift control knob, (16) locking knob for close-up extension, (17) quick coupling plate with ¼-inch and...
Page 235: Using The Tilt Control
Figure 13-4 Applications for tilt control. The tilt control on the FlexBody provides sharpness from top to bottom in the tabletop setting with old Hasselblad Forum magazines and of the fall leaves ﬂ oating on the water. (Photos by Ernst Wildi.) You can have almost unlimited sharpness, far beyond the depth-of-ﬁ...
Page 236 FlexBody, ArcBody, and PC Mutar for Digital Imaging and Film Photography Figure 13-5 Depth-of-ﬁ eld and sharpness range. With the aperture set at f/8 the lens produces a speciﬁ c amount of depth-of-ﬁ eld (top). You can extend the range of sharpness at the same aperture by tilting the image plane in relation to the lens plane (bottom).
Page 237: The Shift Control
THE HASSELBLAD MANUAL and check whether the sharpness range increases. If not, tilt the plane in the other direction. Check the sharpness at the top and bottom and see whether both become critically sharp at some point. If they do not, change the focus setting on the lens. You will quickly ﬁ nd a point where you have sharpness over the entire plane.
Page 238 When using the shift control you are moving the image area out of the optical axis and out of the 78 mm covering power circle of the Hasselblad V system lenses used on the FlexBody. Soon, two corners of the image darken, or even vignette, and lose image sharpness. Shifting with the Hasselblad lenses on the FlexBody is therefore limited, as indicated on the ﬁ...
Page 239: Close-Up Photography With The Flexbody
VIEWING, FOCUSING, AND EVALUATING THE IMAGE On both cameras, the image is evaluated on the focusing screen adapter, in combination with either any Hasselblad V system camera viewﬁ nder or the special RMfx Reﬂ ex ﬁ nder, which shows the 3.3 magniﬁ...
Page 240: The Pc Mutar Teleconverter
FlexBody, ArcBody, and PC Mutar for Digital Imaging and Film Photography Figure 13-9 Photographing with the FlexBody. After the lens settings are made and the digital back or magazine is attached, press the cable release halfway (1) to close the lens shutter. Remove the darkslide (2), and press the release completely (3) to make the picture.
Page 241 THE HASSELBLAD MANUAL Camera Operation with the PC Mutar There is no mechanical connection between the camera and the lens/PC Mutar combination. The camera and lens shutter must be operated with the supplied cable release. The two cable release ends must be adjusted so that camera and lens operate in the proper sequence as follows: 1.
Page 242 FlexBody, ArcBody, and PC Mutar for Digital Imaging and Film Photography Exposure with the PC Mutar Because the PC Muter is a 1.4 converter; exposure needs a one-stop increase unless the expo- sure determination is made through the lens and converter. You will also notice a darkening on the focusing screen when the PC Mutar/lens combination is shifted away from the 0 position.
Page 243 Marco Grob Singer Alvin Chea from the Take 6 band photographed with an HC 2.8/80 mm lens on an H camera.
Page 244 Marco Grob A make-up test shot made with an HC Macro 4/120 mm lens on an H camera.
Page 245 Marco Grob This photograph was shot for a campaign for Zenith watches on the Atlantic Dunes near Cape Town with an HC 2.8/80 mm lens on an H camera.
Page 246 Marco Grob This photograph was shot for GQ magazine with the model, Daniel, illuminated with all the light comming from a real TV set. Made with an HC 3.5/50 mm lens on an H camera.
Page 247 Marco Grob “The Stairs” photographed in Cape Town for Glamour magazine with an HC 3.5/50 mm lens on an H camera.
Page 248: Lens Characteristics And Specifications
THE TECHNICAL PART THAT YOU MUST KNOW ABOUT LENSES Lenses create the image on the ﬁ lm or the sensor of the digital camera or digital back, there- fore, they are a major element that determines how the image is recorded in the camera.
Page 249 THE HASSELBLAD MANUAL theoretical as your personal preference may be part of this decision. For example, 110 mm, not 80 mm, was always my standard lens for 2¼ square photography. Lenses with longer focal lengths are classiﬁ ed as long focal length lenses, telephotos, or tele lenses and those with shorter focal lengths as wide angles.
Page 250 Lens Characteristics and Speciﬁ cations When focusing a zoom lens manually, focus with the lens set to the longest focal length regardless of the focal length setting that you plan to use. At the longer focal length, the image on the focusing screen has the highest magniﬁ cation and the minimum depth-of-ﬁ eld, and focusing is likely more accurate.
Page 251 A 100 mm lens on a Hasselblad keeps its 100 mm focal length and records the image as a 100 mm focal length whether it is used for the 2¼ ﬁ lm format or any one of the smaller sen- sors in a digital back.
Page 252: Covering Power
Designing the lens for the smaller digital format resulted in a compact lens with an extremely large 95 diagonal angle of view, larger than the angle of view of the Superwide camera for ﬁ lm photography. The Hasselblad V system lenses are designed to produce the promised quality and illumination in the 2¼-in. (6 6 cm) square format.
Page 253 Hasselblad. These diagrams can be helpful for comparing the performance of different Hasselblad lenses, to see whether the sharpness varies between close and far dis- tances, or to what degree image sharpness changes when the aperture is closed down.
Page 254 Figure 14-4 shows MTF diagrams for the HC 3.2/150 mm and the HC4/120 mm lens. The Hasselblad MTF diagrams cannot be used to compare the Hasselblad lenses to those made by other companies because there are no standards within the industry. Most compa- nies publish these diagrams based solely on computer printouts not taking into account the manufacturing precision.
Page 255 Hasselblad lens designers accomplished this beauti- fully. MTF diagrams for zoom lenses usually show the curves at two or three different focal...
Page 256 f/3.5 HC50–110 @ 50 Image height (mm) Image height (mm) f/4.5 HC50–110 @ 80 Image height (mm) Image height (mm) f/4.5 HC50–110 @ 110 Image height (mm) Image height (mm) Figure 14-5 Zoom lens quality. MTF diagrams for the HC 3.5–4.5/50–110 mm zoom lens set at 50 mm (top), at 80 mm (center), and at 110 mm (bottom) all with the aperture wide open and closed down to f/8.
Page 257 The MTF diagrams for all Hasselblad lenses show the performance at maximum aperture and with the aperture closed down,...
Page 258 To reduce this problem, manufacturers of high quality lenses, like Hasselblad, limit the mini- mum aperture to a point where the quality loss is not objectionable or even noticeable. This explains why some of the lenses may stop down only to f/16 or f/22 so you do not have to be concerned about closing the aperture too far.
Page 259 ﬁ lter placed over the lens. In the Hasselblad line, this is necessary or recommended only with the Rodenstock lenses for the ArcBody and the 30 and 45 mm lenses of the XPan camera (for the 45 mm lens only when used at apertures f/8 or larger).
Page 260 This process reduces reﬂ ections down to about 0.3%. All Hasselblad H lenses are multicoated. All newer Hasselblad system lenses that carry a red T engraving are multicoated with six or seven layers on each glass air surface. The 250 mm...
Page 261: Distortions
Lens distortion does not change with the lens aperture. The distortion corrections for the lenses made for Hasselblad are also published sometimes for different distance settings. Figure 14-10 shows the distortion diagrams for the HC 3.2/150 mm lens at inﬁ...
Page 262 Lens Characteristics and Speciﬁ cations Image height (mm) Image height (mm) Figure 14-10 Distortion for HC 150. The distortion for the HC 150 is shown at inﬁ nity at the right and for a distance of about 7 feet at the left. @ 1:2 @ infinity Figure 14-11...
Page 263: Lens Design And Lens Names
LENS DESIGN AND LENS NAMES Most modern lenses, like the HC types for the Hasselblad H cameras, do not have speciﬁ c names based on the type of lens or its design. The names on the Carl Zeiss lenses in the V sys- tem differ depending on the lens design, which does not mean that one design is better than another, but simply that a speciﬁ...
Page 264 Hasselblad’s speciﬁ cations and tolerances. Lenses for the H Camera System All lenses for the H camera system are made by Fuji in Japan in cooperation with the Hasselblad lens designers. The lenses are manufactured to the highest standards speciﬁ ed by Hasselblad with all the glass and air surfaces multicoated to produce the most satisfactory image quality in digital and ﬁ...
Page 265 THE HASSELBLAD MANUAL Figure 14-13 Wide angle distortion. The 50 mm wide angle lens records the front of the face of the mask from Thailand when the mask is straight in front of the lens and faces the lens. (A) Placed at the side, the same lens photographs the mask from the side.
Page 266 Lens Characteristics and Speciﬁ cations Figure 14-14 Lens design in the V system. (1) Planar lenses are (left to right) 80, 100, and 135 mm. Makro-Planar. (2) Sonnars are (left to right) 150 mm f/2.8, 150 mm f/4, and 250 mm f/5.6.
Page 267 THE HASSELBLAD MANUAL 3.5/35 3.5/50 2.8/80 4/120 Macro 3.2/150 4/210 Figure 14-15 Lens designs of H system lenses. (1) The HC 3.5/35 mm retrofocus wide angle with 11 lens elements and rear focusing. (2) The HC 3.5/50 mm retrofocus wide angle with 10 lens elements and rear focusing.
Page 268: Wide Angle Lens Designs
Lens Characteristics and Speciﬁ cations entitled “Lenses for Digital Imaging.” DAC can only provide great image quality on a lens that is optically designed to produce that quality. It cannot produce good image quality from an inferior lens. The quality improvement that DAC can make is shown in Figure 14-16. The MTF diagrams show clearly that the HC 35 has excellent quality even without DAC.
Page 269 THE HASSELBLAD MANUAL and low distortion values. This is the main reason the Superwide camera was produced and is extensively used for architectural photography. Because the nodal point from which the focal length is measured is within the physi- cal dimension of this lens design, these wide angle lenses must be close to the image plane, something that is possible on the Superwide cameras but not on SLR models.
Page 270: Telephoto Designs
Lens Characteristics and Speciﬁ cations the regular focusing ring. Do not focus the image ﬁ rst and set the calibration ring afterward. The image will be out of focus. If you want sharpness from foreground to background, set the calibration ring to the longest or second longest distance setting. On the Distagon FE 50 mm f/2.8 non-shutter lenses, the ﬂ...
Page 271: Internal Focusing
ﬁ lm format. This was partially made possible as the focusing mechanism does not need to turn or move the entire lens. Many Hasselblad H system lenses have internal focusing indi- cated as rear or front focusing, depending on whether the front or rear elements are used for this purpose.
Page 272 Lens Characteristics and Speciﬁ cations Infinity HC120 infinity HC120 1:2 HC120 1:1 Figure 14-18 Focusing the macro lens. On the HC Macro 4/120 mm the focusing is accomplished internally by moving some of the lens elements. At inﬁ nity (top) at a 1:2 magniﬁ cation, covering an area twice as large as the image recorded in the camera (center) and at 1:1 life-size magniﬁ...
Page 273: Characteristics And Use Of Teleconverters
THE HASSELBLAD MANUAL Image height (mm) Image height (mm) Infinity Image height (mm) Image height (mm) Figure 14-19 Macro lens quality. The quality of the HC Macro 4/120 mm lens is shown in MTF diagrams with the lens set at inﬁ nity (bottom) and at a distance where it produces a 1:2 magniﬁ...
Page 274 Lens Characteristics and Speciﬁ cations Figure 14-20 HC Macro lens. Two images taken with the HC Macro 4/120 mm lens at f/8. The one with the stamp was photographed at the minimum distance setting where it produced life-size magniﬁ cation. (Photos by Ernst Wildi.) 200 mm (8 in.) long.
Page 275 Figure 14-21 CF lens adapter. Two pictures taken with 150 mm Sonnar lens and CF lens adapter on a Hasselblad H camera. (Photos by Ernst Wildi.) Converter 1.7X Figure 14-23 Teleconverter design. A quality Figure 14-22 H system converter design. The...
Page 276 They can produce good quality images only if combined with a high quality lens, which is no problem with the lenses in the Hasselblad H or V camera systems. The image quality of a con- verter also varies depending on the lens and lens design with which it is combined, but all teleconverters made for Hasselblad and used with the recommended lenses produce a sharp- ness that comes close, or even matches, that of an equivalent longer focal length lens.
Page 277: Protecting Your Lenses
PROTECTING YOUR LENSES Lenses are expensive components of all Hasselblad camera systems. It therefore makes good sense to keep them clean and in perfect operating condition. Protect them as much as possi- ble, on and off the camera, with covers whenever they are not used.
Page 278: Changing Perspective
Lens Characteristics and Speciﬁ cations lenses by photographing from longer or shorter distances, and that these images will be recorded on the sensor or on ﬁ lm in a different fashion. CHANGING PERSPECTIVE Perspective is deﬁ ned as the size relationship between foreground and background and dif- ferent focal length lenses can be used to do just that (see Figures 14-24, 14-25, and 14-26).
Page 279 THE HASSELBLAD MANUAL Figure 14-25 Telephoto perspective. A long telephoto lens with polarizing ﬁ lter enlarged the mountains dramatically so they became a dominant part of the picture and produce a majestic size relationship to the sunlit church in the southern part of Switzerland. Since the mountains are a dominant part of the image, the lens was set to keep them within the depth of ﬁ...
Page 280: Selective Backgrounds
Lens Characteristics and Speciﬁ cations Figure 14-26 Perspective. A barn photographed with Mount Shasta in the background at a 110 mm focal length (top) and 250 mm (bottom). The barn in the foreground could have been recorded in the same size in both images by either photographing with the 110 mm lens from a closer distance or with the 250 mm lens from a longer distance.
Page 281: Effective Wide Angle Photography
You can use the manual stop down control on Hasselblad cam- eras or lenses to evaluate the degree of blur in the background and foreground by viewing through the ﬁ...
Page 282: Correcting Verticals
Lens Characteristics and Speciﬁ cations Figure 14-28 Wide angle photography. Two examples where short focal length lenses were used not just to cover a larger area but to add depth and a three-dimensional feeling to outdoor scenes. Both images composed with the boat about 1/3 from the top and 1/3 from the left border of the image.
Page 283: Effective Fish-Eye Images
THE HASSELBLAD MANUAL Figure 14-30 Photographing buildings from different distances. Photographing a building from a longer distance with a longer lens (a) may produce straight verticals since it reduces or eliminates the need for tilting the camera, which is necessary from a shorter distance with a shorter lens (b).
Page 284 Lens Characteristics and Speciﬁ cations Figure 14-31 Correcting verticals. A building in the Bodie ghost town in California, produced with perfectly straight and parallel verticals in the camera by photographing them with a 250 mm telephoto from a long distance. (Photo by Ernst Wildi.)
Page 285: Using The Zoom Lens For Creative Purposes
THE HASSELBLAD MANUAL Figure 14-32 Effective ﬁ sh-eye photography. (Left) The tree trunk appears perfectly straight in this ﬁ sh-eye picture because it is composed to go from the corner to the center of the image. (Right) Only the 180-degree diagonal angle of the 30 mm Distagon covered the entire range of the two arches.
Page 286 Lens Characteristics and Speciﬁ cations Figure 14-33 Composing the wedding photograph. A wedding photograph with style, beauty, and technical perfection. Beautifully composed with the bride in the perfect center with the circular ceiling remaining circular and the pillars on the two sides equally spaced from the center to give this image a perfect symmetry.
Page 287 THE HASSELBLAD MANUAL Figure 14-34 Zoom lens photography. A 1 second exposure while zooming from the shorter focal lengths to the telephoto settings while the shutter was open. (Photo by Ernst Wildi.)
Page 288: Achieving Perfect Exposures In Digital And Film Photography
Hasselblad camera with instant ﬁ lm, the process is time-consuming and involves changing the magazine and waiting for the instant ﬁ lm to be processed. With Hasselblad dig- ital cameras or digital sensor units, you have various, simple ways to check exposure.
Page 289: Deciding On The Metering Method
Using camera meters is still considered an amateur approach in some quarters, but the metering systems in Hasselblad H cameras — the 203 and 205 models or in a meter prism equipped 503 or other V system camera model — offer excellent professional metering approaches.
Page 290: Metering Modes
Achieving Perfect Exposures in Digital and Film Photography 7. When you change lenses, the measuring area adjusts automatically to the area coverage of the new lens. 8. All the information you need to know about exposure and lens settings is visible in the view- ﬁ...
Page 291 THE HASSELBLAD MANUAL Figure 15-1 Basics of incident and reﬂ ected metering. (1) Correct lens settings are determined by the sensitivity of the ﬁ lm and the amount of light that falls on the subject. (2) If an incident exposure meter reading indicates that the subject requires a lens setting of X, this same setting is correct whether the subject is light or dark.
Page 292 Achieving Perfect Exposures in Digital and Film Photography Figure 15-2 Incident and reﬂ ected meter readings. An incident exposure meter gives the same aperture and shutter speeds for white, gray, and black subjects, and these settings record white as white, gray as gray, and black as black (left). Reﬂ ected meter readings differ for white, gray, or black, even though the same amount of light falls on all three.
Page 293: Metering Approaches With Built-In And Reﬂ Ected Exposure Meters
THE HASSELBLAD MANUAL Figure 15-4 The Zone System exposure principle. Lens settings, based on a reﬂ ected meter reading of 18% gray, record this middle gray tone as zone 5. A reﬂ ected meter pointed at white records white also as a zone 5 middle gray and does the same for black (b). For correct exposure, only middle gray should be recorded as zone 5.
Page 294 Achieving Perfect Exposures in Digital and Film Photography Figure 15-5 The chart shows reﬂ ectance values of different shades of color. The color shades in column 0 reﬂ ect 18% of the light and therefore need no adjustments of a reﬂ ected or built-in meter reading.
Page 295 THE HASSELBLAD MANUAL Figure 15-6 Reﬂ ected meter readings. Four illustrations showing 18% reﬂ ectance areas for a spot meter reading with a built-in exposure metering system for ﬁ lm or digital photography. Areas with the same reﬂ ectance should be selected for a center area or center spot area reading whenever available.
Page 296 Achieving Perfect Exposures in Digital and Film Photography Figure 15-7 18% reﬂ ectance scene. Since practically all colors and shades within the scene are of average brightness, a reading with any built-in CentreWeighted or CentreSpot metering system should provide perfect exposures. (Photo by Ernst Wildi.) the shade.
Page 297 THE HASSELBLAD MANUAL Figure15-8 Use of a graycard. Instead of measuring the light reﬂ ected off the subject, you can measure the light reﬂ ected off the graycard. The reading is then the same whether the card is held in front of the white or the black lighter (left). A graycard reading should provide the correct exposure in a portrait regardless of the color of the skin (right).
Page 298: Lighted And Shaded Areas
Evaluating the Tonal Range and Exposure in Electronic Imaging Digital imaging with Hasselblad H cameras offers a valuable advantage over ﬁ lm photogra- phy by giving you the opportunity to evaluate exposure on a histogram, which allows you to...
Page 299 ﬁ lm and leaning toward overexposure to obtain sufﬁ cient detail in the shaded areas. The Hasselblad digital systems also let you see which areas in a picture might have overexposure. You can program the system so that overexposed pixels ﬂ ash on the preview...
Page 300: Using Different Metering Systems
20 mm center area, about 25% of the total area. Some Hasselblad meter prism ﬁ nders used to have this system, but it has been replaced by the more precise center area or Spot metering type in newer cameras and prism ﬁ...
Page 301 THE HASSELBLAD MANUAL Weighted mode measures this center area equally from side to side while the CentreSpot mode measures mainly the center area. Since a center area metering system measures the most important area of the composi- tion without being inﬂ uenced by dark or bright outside areas, the readings are mostly accu- rate enough to allow the use of the 200, the H model, and XPan cameras in the automatic mode with excellent results.
Page 302 Achieving Perfect Exposures in Digital and Film Photography 15-10). A Spot meter offers a very precise method for metering small, speciﬁ c areas or various areas within the composition to determine the brightness difference such as between shaded and lighted areas, between the main subject and the background, and between the main and ﬁ...
Page 303: Bracketing
You must compensate if the meter reading is made with a handheld meter. The necessary compensation for Hasselblad accessories is in the corresponding sections in this book. You do not have to make any adjustments when using a built-in meter since the meter reading is not only made through the lens but also through the accessory.
Page 304: The Hasselblad Metering Systems
Achieving Perfect Exposures in Digital and Film Photography THE HASSELBLAD METERING SYSTEMS The metering system in the original H cameras can be set for average, CentreWeighted, or Spot metering with many different light-measuring approaches and programmable func- tions to match the metering approach to your photography. The latest H models offer CentreWeighted, CentreSpot and Spot.
Page 305 THE HASSELBLAD MANUAL Figure 15-12 Selecting the metering mode. On the PME 90 and PME 45 meter prism ﬁ nders, you set the desired metering mode by pressing the metering mode button marked Pr (1) and then pressing the UP or DOWN adjustment button until the desired mode symbol, spot meter (2), center area metering (3), incident metering (4), appears on the viewﬁ...
Page 306 Achieving Perfect Exposures in Digital and Film Photography Figure 15-14 Operating controls on the PME 45: (1) rubber eyecup, (2) ISO selector knob, (3) MAX aperture selector, (4) metering mode selector, (5) eyepiece diopter adjustment lock, (6) metering mode symbols, (7) up and down adjustment buttons, (8) metering button, (9) incident light dome, and (10) accessory shoe.
Page 307 THE HASSELBLAD MANUAL Basic Meter Prism Operation Set the correct ISO rating on all meter prism ﬁ nders by pressing the ISO button and then using the adjustment controls to set the proper ISO value. Set the meter prism ﬁ nder for the maximum aperture of the lens on the camera by pressing the Fmax button and then using the adjustment controls (Figure 15-16).
Page 308 EV values or as aperture priority showing the correct shutter speed for the set aperture or shutter priority where you see the necessary aperture for the set shutter speed. Selecting EV values is usually the most practical, fastest, and least mistake-prone solution with Hasselblad shutter lenses.
Page 309 Raya This photograph was shot digitally for Club Med in the daylight with ﬂ ash on an H camera and with an HC 2.8/80 mm lens.
Page 310 Raya Model Lisa Forsberg photographed with an H camera, an HC 3.2/150 mm lens, and a short extension tube. (Raya Photographer.)
Page 311 Raya This photograph was shot just before a storm in Normandy, France for Prisma Press. Daylight plus ﬂ ash on model Jitka Ogurekova using an HC 2.8/80 mm lens on an H camera. (Raya Photographer.)
Page 312 Raya High jewlery photograph produced with an HC 3.2/150 mm lens on an H camera. (Raya Photographer.)
Page 313 Raya This photograph was shot at a restaurant at Disneyland Paris using four ﬂ ashes and an HC 2.8/80 mm lens on an H camera. (Raya Photographer.)
Page 314: Controls For Creating Effective Images On Film Or Digitally
Controls for Creating Effective Images on Film or Digitally The image in the camera, whether produced on a digital sensor or on ﬁ lm, is created by the lens and its effectiveness is determined by the focal length of the lens, the distance setting, and the settings of the aperture and shutter speed controls.
Page 315 THE HASSELBLAD MANUAL Other lenses are focused to closer distances by physically moving the entire lens further from the image plane. This reduces the amount of light reaching the image plane. The amount is negligible for all practical purposes within the normal focusing range of a lens because it practically never exceeds ½...
Page 316: Controls For Creating Images
Controls for Creating Effective Images on Film or Digitally On V system cameras without a metering system, you can set the lens for the desired EV number and then interlock the aperture and shutter speed ring and take pictures at any of the interlocked settings.
Page 317: Depth-Of-Fi Eld
THE HASSELBLAD MANUAL Figure 16-3 Aperture/shutter speed lock. On CF, CFE, CB, and CFi lenses the shutter speed and EV values are set by turning the shutter speed ring. The aperture is set by turning the aperture ring (1). Interlock aperture and shutter speed rings by pressing the interlock button (2).
Page 318 Controls for Creating Effective Images on Film or Digitally Figure 16-5 Depth-of-ﬁ eld at different apertures. (1) With the lens focused on the subject at 20 feet and the aperture wide open, the depth-of-ﬁ eld may extend from 19 to 22 feet with one- third in front and two-thirds behind the focused distance.
Page 319 THE HASSELBLAD MANUAL Figure 16-7 Depth-of-ﬁ eld range. Two images that required depth-of-ﬁ eld from foreground to background and were taken with the lens aperture completely closed down. This was necessary to record both Mt. Shasta in the background and the railroad crossing signs in the foreground with maximum sharpness.
Page 320 35 mm ﬁ lm format or a digital camera with the smaller full frame or the even smaller APS size sensor. This difference is based on the longer focal length of the lens that is necessary to cover the same area on the larger formats.
Page 321 Unfortunately this is incorrect. The focusing screen on SLR cameras, or the Preview screen on digital sensor units even on Hasselblad cameras made for larger ﬁ lm and sensor sizes, is sim- ply too small to see where the sharpness is acceptable or where the sharpness starts falling below the acceptable limit when the image is enlarged.
Page 322 Everything that has been said above for focusing screens applies to preview screens on the Hasselblad sensor units and to an even higher degree because the images on these screens are usually viewed without daylight completely shielded from the screen which viewﬁ nders do on focusing screens.
Page 323: Photographing Groups
The manual diaphragm stop down on the H cameras and the other focal plane shutter cameras, and on all Hasselblad shutter lenses allows you to see how the image is recorded at different apertures (see Figure 16-12).
Page 324: Background Sharpness
Controls for Creating Effective Images on Film or Digitally arranged in a curved line, everybody from center to the edges can be at the same distance (see Figure 16-13). This is not, however, the way lenses are designed nor how they record a subject. Every lens is designed to record a sharp image on the ﬂ...
Page 325: Creative Use Of The Lens Aperture
THE HASSELBLAD MANUAL is enhanced not only by opening the aperture but also with longer focal length lenses. If you want to keep backgrounds reasonably sharp, use a shorter focal length; if you want to blur backgrounds more, change to a telephoto. Everything that has been discussed about back- ground sharpness also applies to foreground subjects, which can often visually enhance an image by adding a touch of color to a photograph (Figure 16-14).
Page 326 Controls for Creating Effective Images on Film or Digitally Figure 16-15 Foreground sharpness. A romantic wedding photograph visually enhanced with the soft, undistracting background and the completely blurred red ﬂ owers in the foreground created by using a large aperture on a long 250 mm telephoto lens. (Photo by Andy Marcus.) forcing the audience to look at that part of your image.
Page 327: Selection Of Shutter Speed
THE HASSELBLAD MANUAL Figure 16-16 Lens setting for depth-of-ﬁ eld. Photographed at the smallest lens aperture with the focusing ring set to provide depth-of-ﬁ eld from the front of the picnic table to the trees in the background. The trees on the left, especially the bare trunk with the same color as the table, add a wonderful compositional balance to the image.
Page 328 Controls for Creating Effective Images on Film or Digitally of view as different shutter speeds record moving subjects differently in the camera. You must decide whether the motion is to be frozen, recorded with a slight blur, or completely blurred. A moving subject recorded at a high shutter speed appears to be standing still, produc- ing interesting and sometimes strange pictures.
Page 329 THE HASSELBLAD MANUAL Figure 16-18 Photographing the peak of the action. Blur in moving subjects is reduced when the shutter is released when the subject is momentarily still, as at the end of a swing, or at the top of the bounce from a trampoline. Another method is to follow the moving subject with the camera and make the exposure while the camera moves.
Page 330 Figure 16-19 Blurred snow and water. Water is the most popular subject for blurred motion, which in this case is emphasized by the sharp outlines of the tree in the foreground and the rock formations in the back. A slow shutter speed of ¼ second made the falling snow the important part of the image.
Page 331: Aperture And Shutter Speed Operation
EV value. This is possible on all Hasselblad cameras used both in ﬁ lm or digital photography. On the H cameras you simply turn the front control wheel on the LCD grip (see Chapter 4 for details).
Page 332: Understanding Light And Filters
Understanding Light and Filters FILTERS IN DIGITAL IMAGING With all the image manipulation possibilities in digital imaging, the need for using ﬁ lters on the camera has been reduced. This is true especially regarding ﬁ lters used for changing colors or producing special effects.
Page 333: Reasons For Using Filters
The ﬁ lters used in black and white ﬁ lm photography to change gray tones can also improve the rendition of different colored areas in digital black and white images if black and white images can be produced in the camera. With Hasselblad, black and white images are produced in the computer.
Page 334: Partial Filtering
Understanding Light and Filters for improving pictures, and in most cases do not penetrate haze and do not improve distant shots. Consider polarizing ﬁ lters for this purpose as explained later in this chapter. Neutral Density Filters Neutral density ﬁ lters, also called gray ﬁ lters, are made from neutral gray colored glass that does not change colors or the tonal rendition.
Page 335 THE HASSELBLAD MANUAL Figure 17-1 Figure 17-2 Filters in black and white ﬁ lm Filters in black and white photography. Illustration shows how gray photography. (1) The color wheel with tones can be changed drastically in black and the colors red (R), yellow (Y), green (G), white photography.
Page 336: Polarizing Filters
Understanding Light and Filters Graduated ﬁ lters come in different densities and also as hard- edge types to be used when the dividing line is very deﬁ nite as a horizon and as a soft type for use when subject bright- ness fades.
Page 337 THE HASSELBLAD MANUAL gives many surfaces a deeper, more saturated color. Reﬂ ections can also look natural, as on porcelain or silver, or they can make pictures more beautiful. Eliminating reﬂ ections can make water dull and uninteresting. Store windows are often visually effective because of the reﬂ ec- tions on the glass.
Page 338 Understanding Light and Filters Figure 17-7 Polarizing ﬁ lter outdoors. These illustrations show how a polarizing ﬁ lter can improve the results in a side-lit outdoor scene taken digitally or on ﬁ lm by eliminating the haze and bluish cast in the middle and background areas. The contrast is dramatically improved in those areas.
Page 339: The Color Quality Of Light
Color Quality in Digital Photography Although the sensor in a digital camera or digital back is not made for a speciﬁ c color temper- ature, you still have to be concerned with the color quality of the light. To obtain the desired...
Page 340 Understanding Light and Filters Table 17-2 Color Temperatures of a Few Typical Light Sources Kelvin Type of light 12500 Shade with clear blue sky 6250 Overcast day 5600 Sunlight at noon 3200 Tungsten lamps 2900 100–200 W household lamps 1850 Candlelight color rendition, you must work with white balance control as discussed in detail in Chapter 5.
Page 341: Exposure Increase
In the Wratten ﬁ lter system, there is no direct relationship between the color temperature of the light and the ﬁ lter value. In the Decamired system that Hasselblad used, the light and ﬁ lter values are directly related to each other and can be matched with a DM value equal to the dif- ference in the DM values of the ﬁ...
Page 342 Checked screens with grids simplify this alignment. While all Hasselblad lenses have excellent quality at close distances, you may want to consider the Superwide camera or the Makro-Planars 120 mm or 135 mm in the V system if necessary, in combination with extension tubes.
Page 343: Quality Of Filters
THE HASSELBLAD MANUAL Lighting Tungsten lights or electronic ﬂ ash, especially studio units with modeling lights, are good choices. Lighting must be even from corner to corner and without disturbing reﬂ ections. For small documents, one light may be sufﬁ cient, but two lights provide better possibilities for larger documents.
Page 344 Understanding Light and Filters Figure 17-10 Copying setup. A simple setup for copying in polarized light consists of two lights (L), on the left and right, illuminating the copy from the same angle of about 35 degrees. The light from both lamps goes through the polarizing material (P1) so that the light falling on the copy is polarized.
Page 345: Soft Focus Effects
The Softar ﬁ lters are made from an acrylic material and should never be cleaned with lens cleaning ﬂ uids or other chemicals. The Hasselblad Soft ﬁ lters in square shapes for use in the Professional Lens Shade produce a very similar effect as the Softars. The different degree of softness is created with different ﬁ...
Page 346: Visible And Invisible Light
Understanding Light and Filters Figure 17-11 Glamour in wedding photography. This is a wedding portrait that beautifully conveys the romance of the wedding day. The diagonal composition makes a moving image different from the ordinary portrait. The out-of-focus ﬂ owers on the left keep the eye in the picture focused on the beautiful face and eyes of the bride.
Page 347 Special lenses made from quartz elements are necessary when working in the shorter ranges. Such a lens of 105 mm focal length made by Carl Zeiss used to be available for Hasselblad V system SLR cameras. Fluorescence photography means photographing objects and materials that ﬂ uoresce when subjected to UV light, such as a black light (BLB ﬂ...
Page 348 Understanding Light and Filters unfortunately are not easy to ﬁ nd or do not exist for medium-format cameras. Most infrared black and white photography is done with a red ﬁ lter on the lens. Lenses and Focusing All photographic lenses transmit infrared radiation and are therefore usable. With infrared color ﬁ...
Page 349 THE HASSELBLAD MANUAL ﬁ lter, which, in the case of Hasselblad, can be done at the Hasselblad service centers. This con- version done at the Hasselblad service center also involves recalibrating the sensor position for the image distance without the ﬁ lter and cover glass. The infrared ﬁ lter must be re-attached over the sensor for regular photography.
Page 350: Electronic Flash In Digital And Film Photography
Electronic ﬂ ash, produced by large studio lights or compact units attached to the camera or as part of the camera itself (on the Hasselblad H camera models) is the most common light source for digital or ﬁ lm photography. Electronic ﬂ ash produces no heat; the duration of the ﬂ...
Page 351 THE HASSELBLAD MANUAL Figure 18-1 Red eye. (1) Red eye is caused by the ﬂ ash light being reﬂ ected off the blood-ﬁ lled retina. (2). You can avoid this by placing the ﬂ ash farther from the camera lens so that the retina is shaded.
Page 352: Dedicated Flash
Automatic ﬂ ash is a good choice when a dedicated ﬂ ash system is not available. Dedicated ﬂ ash should, however, be the choice for all location ﬂ ash photography indoors and out with Hasselblad camera models that offer dedicated ﬂ ash.
Page 353 ﬂ ash off earlier, creating underexposure; dark subject areas do the opposite. (2) The new Hasselblad rear covers have a center area that reﬂ ects the same amount of light as the ﬁ lm and can be used for checking whether ﬂ ash illumination is sufﬁ cient.
Page 354: Flash Photography With H Camera Models
ﬂ ash units in the SCA3002 system, attach the control unit from the ﬂ ash to the Hasselblad SCA3902 adapter, which is mounted to the viewﬁ nder hot shoe. As usual, ﬂ ash units used in dedicated fashion are set to TTL.
Page 355 THE HASSELBLAD MANUAL Figure 18-4 Viewﬁ nder controls. Bring the ﬂ ash in the operational position by sliding the catch lever (lower illustration) toward the ﬂ ash symbol. Pressing the ﬂ ash unit downward closes it. The top illustration shows from left to right the diopter correction wheel, the Exposure Adjustment button, and the Exposure Mode/Light-Metering Mode button.
Page 356 Electronic Flash in Digital and Film Photography are described later in this chapter under the section Electronic Flash for Photographing People Outdoors. With non-dedicated units, change the ﬂ ash exposure by setting the ISO on the ﬂ ash unit to a higher or lower value; for example, to ISO 400 if the ﬂ ash illumination is to be reduced two EV values with ISO 100.
Page 357: Dedicated Flash With 503 And Other V System Camera Models
ﬂ ash units based on the SCA300 system, which is common on European ﬂ ash units. Some ﬂ ash manufacturers make adapters for use with Hasselblad V system cameras. The Hasselblad D-Flash 40 can be used in a dedicated fashion on all dedicated ﬂ ash V system cam- eras without an adapter.
Page 358 Ready Light and Exposure Signal In the Hasselblad 503 and all other V system cameras designed for dedicated ﬂ ash, the ﬂ ash ready light is visible in the camera’s viewﬁ nder as either a green ﬂ ash symbol (in 200 cameras) or a red light on the left side of the focusing screen (on 500 models;...
Page 359: Flash For Photographing People Outdoors Digitally Or With Film
Flash settings. With the ISO set on the camera (a), the ﬂ ash dial is set to TTL (b). This is unnecessary on the Hasselblad D-Flash 40. This unit simply needs to be turned on for either built-in or external battery use (c). The ready Light/Test button is near the ON/OFF switch (d).
Page 360 Electronic Flash in Digital and Film Photography Figure 18-8 Flash connections. For dedicated operation of V system cameras, the six-pin cable from the ﬂ ash unit or adapter goes into the six-pin socket on the camera body (b). When the lens shutter is used, the sync cable must also be connected to the PC socket on the lens (a).
Page 361 THE HASSELBLAD MANUAL Figure 18-9 Ready light. In the 200 camera models with built-in metering systems, a green ﬂ ash symbol on the viewﬁ nder display indicates when the ﬂ ash is ready to be ﬁ red (a). A HI FLASH or LO FLASH warning appears after the picture is made if the ﬂ...
Page 362 This reduction in the ﬂ ash exposure can be done beautifully in all Hasselblad dedicated ﬂ ash systems without changing the exposure for the existing light. The ﬂ ash is reduced on H cameras by programming the desired compensation with the front wheel with the values vis- ible on the Flash Option screen.
Page 363: Producing Better Flash Illumination
THE HASSELBLAD MANUAL unchanged.With non-dedicated ﬂ ash, exposure is reduced in the same fashion but by chang- ing the ISO setting on the ﬂ ash unit set for manual or automatic operation. Fill Flash Used as a Main Light Flash offers wonderful possibilities outdoors not only as a ﬁ ll light on sunny days, but also as an additional light on overcast days or in shaded areas, perhaps in nature photography.
Page 364: Some Technical Points
Use the camera in the Manual (M) mode with the shutter speed preset. Studio Flash for Digital Photography All ﬂ ash units produce a voltage through the sync cable when the ﬂ ash is triggered. Hasselblad equipment is built to the ISO standard 10330, which means that there should be no problems with any known brand of ﬂ...
Page 365: Hasselblad Flash Units
The Hasselblad D-Flash 40 The Hasselblad D-Flash 40 ﬂ ash unit (see Figure 18-13) is compact and lightweight and has a guide number of 137 (40 in meters) in the N reﬂ ector position and 110 (33 in meters) in the W position.
Page 366 Electronic Flash in Digital and Film Photography Figure 18-13 The D-Flash 40 operating controls: (1) tilt and swivel head, (2) index mark, (3) adjustable reﬂ ector, (4) ﬂ ash tube, (5) ﬂ ash body, (6) sync cord jack, (7) sync cord, (8) ﬂ ash mounting plate, (9) locking nut, (10) external power connection, (11) W indication, (12) tilt scale, (13) model designation, (14) ready light and discharge button, (15) battery cassette latch key, (16) ON/OFF switch and power selector, (17) battery cassette, (18) reﬂ...
Page 367: Close-Up Photography On Film Or Digital
CLOSE-UP PHOTOGRAPHY IN DIGITAL IMAGING AND FILM PHOTOGRAPHY Lenses and close-up accessories form the image on the sensor of a digital camera or digital back in exactly the same way as they do on ﬁ lm, therefore,the techniques discussed in this chapter apply whether you work with ﬁ...
Page 368 Close-Up Photography on Film or Digital want to photograph, the farther away the lens needs to be moved. The length of the tube required to cover a speciﬁ c area is determined by the focal length of the lens. The longer the focal length of the lens, the longer the required tube.
Page 369 THE HASSELBLAD MANUAL depth-of-ﬁ eld and exposure. The most practical way to determine magniﬁ cation is to relate the size of the area covered to the size of the same area as seen on the focusing screen. With ﬁ lm, the latter is the full focusing screen area in H or V system cameras. In digital imaging, you must consider the masked down area that corresponds to the sensor size.
Page 370: Working With Extension Tubes
Extension tubes of different lengths can be used for close-up photography with the H and V system SLR Hasselblad cameras for digital imaging or ﬁ lm photography. The tubes have no optical components and are mounted between the camera and lens to increase the image dis- tance.
Page 371 Figure 19-3 Close-up beauty photography. Two attention-creating beauty close-up photographs that convey the possibilities and quality of Hasselblad digital close-up photography. Both images are made with Makro-Planar 120 mm in combination with extension tube 8 for the lips and extension tube 32 for the eye. (Photos by Sarah Silver.)
Page 372: Other Close-Up Accessories
Close-Up Photography on Film or Digital Determining the Length of the Extension Tube The easiest way to determine the necessary length of the extension for a speciﬁ c lens and magniﬁ cation is from the Close-up Charts A and B at the end of the chapter. The charts for the H camera system show all the information for the lenses from 35–150 mm and the 50–110 zoom lens and for ﬁ...
Page 373: Close-Up Photography With All Hasselblad Cameras
CLOSE-UP PHOTOGRAPHY WITH ALL HASSELBLAD CAMERAS The single lens reﬂ ex concept of all Hasselblad SLR cameras allows you to see in the view- ﬁ nder the image as it will be recorded on the digital sensor or on ﬁ lm with any lens and close-up accessory.
Page 374: Close-Up Photography With H Cameras
The mirror can be locked up as in all Hasselblad SLR models. On the latest H3D camera models, you can pro- gram the delay between the time the mirror is lifted and the time the image is actually taken.
Page 375 The Variogon 140–280 mm and the Hasselblad 60–120 mm zoom lenses can be used and produce satisfactory image quality with the 16 mm extension tube. The image, however, does not stay in focus when you are zooming.
Page 376: Special Close-Up Applications
(camera, bellows, lens) closer to or farther from the subject. It changes the subject distance, S, while maintaining the lens-to-ﬁ lm distance and the magniﬁ cation. Operating the Hasselblad Bellows When working with a tripod, use the tripod socket on the mounting plate of the bellows rather than the tripod socket on the camera.
Page 377: How To Use The V System Close-Up Charts
Hasselblad camera. Photography through the Microscope Hasselblad cameras can be used for photographing through a microscope (see Figure 19-6). But successful photography is based more on techniques of microscopy rather than pho- tography and the image quality is determined mainly by the microscope objectives and the microscope illumination.
Page 378: How To Use The H System Close-Up Charts
Close-Up Photography on Film or Digital indicating all the available choices. Note that the indicated exposure increase applies only to extension tubes and bellows, not to the Proxar lenses. Using the V System Charts for Digital Imaging All the ﬁ gures in the V system close-up charts are for the 6 6 square format or the long side of the 6 4.5 ﬁ...
Page 379 THE HASSELBLAD MANUAL All charts #3 to #8 (both in A and B) show the width W and Height H of the area covered with different tubes and lenses and with the lens focused at inﬁ nity and at its closest focusing distance.
Page 380 Close-Up Photography on Film or Digital Chart A1. Exposure increase, magniﬁ cation and distances in inches for single extension tubes.
Page 381 THE HASSELBLAD MANUAL Chart A2. Area coverage in inches with single extension tubes for the 6 4.5 ﬁ lm format.
Page 382 Close-Up Photography on Film or Digital Chart A3. Area coverage in inches with single extension tubes for the 36.7 49.0 sensor.
Page 383 THE HASSELBLAD MANUAL Chart A4. Area coverage in inches with single extension tables for the 33.1 44.2 sensor.
Page 384 Chart A5. Exposure increase, magniﬁ cation and distances in inches for combinations of tubes.
Page 385 Chart A6. Area coverage in inches with combinations of tubes for the 6 4.5 ﬁ lm format.
Page 386 Chart A7. Area coverage in inches with combinations of tubes for the 36.7 49.0 sensoChart r.
Page 387 Chart A8. Area coverage in inches with combinations of tables for the 33.1 44.2 sensor.
Page 388 Close-Up Photography on Film or Digital Chart B1. Exposure increase, magniﬁ cation and distances in the metric system for single extension tubes.
Page 389 THE HASSELBLAD MANUAL Chart B2. Area coverage in the metric system with single extension tubes for the 6 4.5 ﬁ lm format.
Page 390 Close-Up Photography on Film or Digital Chart B3. Area coverage in the metric system with single extension tubes for the 36.7 49.0 sensor.
Page 391 THE HASSELBLAD MANUAL Chart B4. Area coverage in the metric system for single extension tubes for the 33.1 44.2 sensor.
Page 392 Chart B5. Exposure increase, magniﬁ cation and distances in the metric system for combinations of tubes.
Page 393 Chart B6. Area coverage in the metric system with combinations of tubes for the 6 4.5 ﬁ lm format.
Page 394 Chart B7. Area coverage in the metric system for combinations of tubes for the 36.7 49.0 sensor.
Page 395 Chart B8. Area coverage in the metric system for combinations of tables for the 33.1 44.2 sensor.
Page 396 Chart C Close-up chart for bellows. To read the chart, go from the bellows extension (120 mm in this example) straight down until you reach the lens that is used (120 mm). The number 2 indicates the necessary increase in exposure. Now go straight across to ﬁ...
Page 397 Chart D Close-up charts for 80 to 250 mm Hasselblad lenses an 503 and other V system SLR cameras based on the ﬁ lm format.
Page 398 Close-Up Photography on Film or Digital...
Page 399 Tungsten lights. Since these ﬂ owers cannot be exposed to the light sources for extensive periods, Jonathan usually does the actual photography in a very short time using a Hasselblad digital camera using a 120 mm Macro lens. There are no image manipulations.
Page 400 Jonathan Singer...
Page 401 Jonathan Singer...
Page 402: The Hasselblad Xpan Panoramic Cameras
Such images are produced in the computer with a software program by stitching together a number of overlapping images specially made for this purpose in a digital Hasselblad camera or digital back. PRODUCING PANORAMIC IMAGES DIGITALLY A digitally produced panoramic image can be successful only if the individual images to be stitched together in the computer are carefully planned and photographed.
Page 403: Camera-Produced Panoramic Images
ﬁ nal image in the viewﬁ nder and if necessary re-compose to make the panoramic image visually more exciting. This is possible with ﬁ lm and the Hasselblad XPan is an ideal tool for this purpose since it produces images that are 2.7 as wide as high.
Page 404 The Hasselblad XPan Panoramic Cameras 12 11 10 Figure 20-1 (Continued) (8) format selector knob, (9) format selector release, (10) viewﬁ nder eyepiece, (11) viewﬁ nder eyepiece release button, (12) viewﬁ nder LCD, (13) cable release socket, (14) strap lug, (15) ﬁ lm type window, (16) camera back release catch,...
Page 405: Image Format
THE HASSELBLAD MANUAL IMAGE FORMAT The Hasselblad XPan is made for 35 mm ﬁ lm in the standard cassettes but the images can be produced either in the standard 24 36 mm format or in a panoramic format of 24 65 mm and you can mix the two in any desired fashion on a roll of ﬁ...
Page 406: Power Supply
The Hasselblad XPan Panoramic Cameras POWER SUPPLY The XPan camera’s built-in motor is powered from two 3 V lithium batteries type CR-2. Two fresh batteries will provide power for about 3,000 exposures with battery condition indi- cated in the viewﬁ nder (see Figure 20-3). The camera does not operate without batteries.
Page 407: Film Loading
THE HASSELBLAD MANUAL FILM LOADING Before loading a ﬁ lm, set the ISO dial to DX for DX-coded ﬁ lm, to the desired ISO value for non-coded ﬁ lms, or if you want to use a different ISO value for a coded ﬁ lm. You must do this before loading the ﬁ...
Page 408: Operating The Camera
The Hasselblad XPan Panoramic Cameras (see Figure 20-6). When evaluating the exposed rolls of ﬁ lm, remember that the last picture you took is frame 1 on the ﬁ lm and so on. A partially exposed cassette of ﬁ lm can be removed by pressing the mid-roll rewind but- ton below the LCD panel with tip of a ballpoint pen or similar object (see Figure 20-7).
Page 409: Viewing And Focusing
THE HASSELBLAD MANUAL 2-second delay, the self-timer light starts ﬂ ashing immediately. Self-timer operation can be stopped by changing the operating control dial to S, C, or OFF. The exposure is made with the shutter release on the camera which also turns on the metering system.
Page 410: Composition In The Panoramic Format
The Hasselblad XPan Panoramic Cameras is correct at all distances. The rangeﬁ nder in the camera is also used for focusing the 30 mm lens, but viewing is done with the special 30 mm viewﬁ nder that comes with the lens and is attached to the ﬂ...
Page 411 THE HASSELBLAD MANUAL Figure 20-10 Poor panoramic composition. Panoramic image of a covered bridge has dark areas on both sides that are unnecessary for the image. Eliminating those areas results in an image in a more standard shape which actually improves the image.
Page 412 The Hasselblad XPan Panoramic Cameras (Figure 20-12) to a plus setting when subjects are brighter and to minus for darker subjects. Do not forget to reset the dial to 0 after the exposure. You can also photograph such subjects in the Manual Exposure mode, making the necessary compensation.
Page 413 THE HASSELBLAD MANUAL Figure 20-14 Exposure information on the XPan II camera model. The indications when the camera is set to automatic exposure are shown on the left: (a) setting beyond metering range (too dark); (b) correct exposure; (c) calculated exposure time less than second;...
Page 414: Flash Photography
The Hasselblad XPan Panoramic Cameras set to the Automatic Bracketing mode with only one or two images left on the ﬁ lm. Turn off the Automatic Bracketing mode by again pressing the AEB button (in the original XPan) or the Mode button (on the XPan II), or it automatically goes off when the camera is turned off.
Page 415: Projecting Medium-Format Images
Projecting Medium-Format Images MODERN DIGITAL PROJECTION APPROACHES Projecting transparencies with one slide projector or a number of projectors in the case of multi-image presentations is an activity of the past, especially for professional presentations. Photographic images are presented on the screen today with digital projectors which are more compact, simplify producing an effective slide presentation, and eliminate the time-con- suming glass mounting of transparencies which was necessary and recommended especially for medium-format transparencies.
Page 416: Medium Format Slide Projection
For the best image quality with the very best resolution and corner-to-corner quality, con- sider a drum type scanner that does not use glass plates like the Hasselblad Flextight scanners. The original goes into a glass-free magnetic ﬁ lm holder designed for the various ﬁ lm sizes such as 35 mm, XPan panoramics, 6 4.5, 6...
Page 417: Perspective Control
THE HASSELBLAD MANUAL PERSPECTIVE CONTROL The Hasselblad PCP 80 projector (see Figure 21-1) is the most professional medium-format slide projector and can be used for the most sophisticated multi-image presentations with standard dissolve and control equipment. Figure 21-1 Operating controls on the PCP 80: (1) air ﬁ lter, (2) baseplate (can be removed to clean the projector), (3) automatic circuit breaker, (4) voltage selector (does not exist on the U.S.
Page 418: Image Brightness
Projecting Medium-Format Images The designation PCP comes from the built-in perspective control, which allows you to move the image on the screen up and down by moving the entire optical system from lens to lamp housing up and down with the perspective control knob. Just like in a camera shift con- trol, the plane of the transparency remains parallel to the screen.
Page 419 The PCP 80 operating controls are shown and explained in Figure 21-6. Forward and reverse slide changing and focusing can be operated with the Hasselblad remote control con- nected to six-pin socket 25. The forward and reverse projection functions can also be oper- ated with a standard Kodak remote control connected to the ﬁ...
Page 420 Projecting Medium-Format Images Figure 21-5 Starting the projection. (A) The power cable is connected to the socket (22). The fan is turned on with the power switch (23). (B) Slide trays can be attached only when the tray lock (12) is in the unlocked position, with the red control lamp burning. The slide-changing arm (a) is then in the up position.
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Page 422: Index
Index 1000F cameras shutter lenses with, 202 component interchangeability, 130 shutter speed, 201 release of, 1 viewﬁ nder display, 205 1600F cameras zone Z mode, 209–210, 213 component interchangeability, 130 2000 series cameras, 128 history, 1 2000FCM, 173 200 series cameras, 201, 127–128 2000FCW, 173 201F, 171 double exposures in, 175...
Page 423 60 computer connection, direct, 37–38 creative uses of, 310–312 formatting, 38 depth-of-ﬁ eld control, 301, 302–303, 305–306 ImageBank II (see ImageBank II) digital camera, 30 programming, 38 distance setting, 298–299 working with, 37 exposure values, 300–301 CF digital backs, 84 handheld photography, 8 computer connection, 85–86...
Page 424 278, 280–282 attaching/removing winder, 165–166 motor operation, 166 reﬂ ected meter readings, 276–728, 282–283 operating, 163 sensors in Hasselblad digital cameras, 11, 13–14 remote operation, 166–167 shift and tilt control, 216 sensor units, 84 single-shot, 33 Superwides (see Superwides) test objects, 98 tonal range, 283–284...
Page 425 Index ﬁ lm formats ﬂ ash photography 21/4 21/4 size, 15 built-in, 325 4.5 cm size, 16 dedicated ﬂ ash, 214, 337–339 7 cm medium, 18 electronic, 214, 344–345 panormaic format, 17–18 (See also XPan ﬁ ring failures, 349 ﬂ ash units, 335–36, 339–340 camera) roll length, 14–15 ghost images, 348...
Page 426 Continuous Drive mode, 73 Shutter Release button, 58 custom options, 62–63, 75–78 Standby mode, 57 date/time imprint, 56 Stop Down button, 74–75 digital camera backs, 28 text settings, 55–56 Drive mode, 59, 60 timer, 58, 60–61 Esc button, 73 ultra focus, 66...
Page 427 White Balance settings, 79, 96–97, 102 factor, 235–237 zoom, 103 ﬁ sh-eye, 255, 268, 270, 329 handheld meters, 275 focal length, 263–264, 265–266 Hasselblad Supreme Wide Angle, 128 focal lenth, 233–234 Hassleblad camera system foreshortening, 247 history of, 1–2 Planar, 248...
Page 428 Index multiple exposures camera-produced, 175–76 quality tests, 243 computer-produced, 173–74 neutral objects, 97–98 reﬂ ected meter readings, 276–278 release 200 camera models, on, 170, 199 cables, via, 182 pre-releasing, 173, 199, 200 obsolescence, issues of with equipment, 22–24 self-timers, 199 overexposure, 100 steadiness, relationship to, 170 tripod-mounted cameras, on, 173...
Page 429 Index steadiness (Contd) auxiliary shutter, 129–130 tripod use (see tripod) basic camera operation viewﬁ nders, improved by, 143–144 bellows, 358, 361 stop-down, manual, 308 bottom plate, 137 Superslide format, 17 CF lens adapters, 256 Superwides, 128 close-up charts, using, 362–363 close-up techniques, 192 component interchangability, 130 digital images, 187, 189...
Page 430 Index CFE Planar lens, 31 CFi lenses, 131 X camera system, overview, 4–5 F lenses, 131–132 XPan camera, 4–5 image quality with lenses, 252 bracketing, 288 lens coating, invention of, 245 bracketing exposures, 397–399 lenses, 4, 21, 148 camera models, 388, 390 lenses, for digital imaging, 34–35 camera-produced images, 388 Zone System theory, 212–14, 278...
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Page 432 ﬁ le processing and enhancement, using regular and recognizable computer interface concepts. Seasoned digital users should feel immediately at home. But don’t forget that the Hasselblad team will be there to answer your queries and help you if you get lost somewhere along the way!